View source for Boydell Shakespeare Gallery

{{short description|Art museum in London}}
[[File:Reynolds-Puck.JPG|right|thumb|[[Joshua Reynolds]]' ''Puck'' (1789), painted for [[John Boydell|Boydell]]'s Shakespeare Gallery, is modelled after [[Parmigianino]]'s ''Madonna with St. Zachary, the Magdalen, and St. John''<ref>Burwick, "Romantic Reception", 149.</ref>|alt=Oil painting representing Puck as a baby with pointed ears and curly blonde hair sitting on an enormous mushroom in a forest. He holds a small posy and grins mischievously.]]

The '''Boydell Shakespeare Gallery''' in London, England, was the first stage of a three-part project initiated in November 1786 by [[engraver]] and publisher [[John Boydell]] in an effort to foster a [[School (discipline)|school]] of British [[history painting]]. In addition to the establishment of the gallery, Boydell planned to produce an illustrated edition of [[William Shakespeare|William Shakespeare's]] plays and a folio of prints based upon a series of paintings by different contemporary painters. During the 1790s the London gallery that showed the original paintings emerged  as the project's most popular element.

The works of William Shakespeare enjoyed a renewed popularity in 18th-century Britain. Several new editions of his works were published, his plays were revived in the theatre and numerous works of art were created illustrating the plays and specific productions of them. Capitalising on this interest, Boydell decided to publish a grand illustrated edition of Shakespeare's plays that would showcase the talents of British painters and engravers. He chose the noted scholar and Shakespeare editor [[George Steevens]] to oversee the edition, which was released between 1791 and 1803.

The press reported weekly on the building of Boydell's gallery, designed by [[George Dance the Younger]], on a site in [[Pall Mall, London|Pall Mall]]. Boydell commissioned works from famous painters of the day, such as [[Joshua Reynolds]], and the folio of engravings proved the enterprise's most lasting legacy. However, the long delay in publishing the prints and the illustrated edition prompted criticism. Because they were hurried, and many illustrations had to be done by lesser artists, the final products of Boydell's venture were judged to be disappointing. The project caused the Boydell firm to become insolvent, and they were forced to sell the gallery at a lottery.

==Shakespeare in the 18th century==
{{further|Shakespeare's reputation}}
[[File:William Hogarth - David Garrick as Richard III - Google Art Project.jpg|thumb|left|300px|[[William Hogarth|William Hogarth's]] portrait of [[David Garrick]] as [[Richard III (play)|Richard&nbsp;III]] (1745)|alt=Oil painting of the actor Garrick dressed as a Richard III, sitting on a curtained bed with an attitude of despair. At his feet is a set of armor and behind him is a crucifix.]]
In the 18th century, Shakespeare became associated with rising British nationalism, and Boydell tapped into the same mood that many other entrepreneurs were exploiting.<ref>Altick, 10; Boase, 92.</ref> Shakespeare appealed not only to a social elite who prided themselves on their artistic taste, but also to the emerging middle class who saw in Shakespeare's works a vision of a diversified society.<ref>Altick, 11–17; Taylor, 149.</ref> The mid-century Shakespearean theatrical revival was probably most responsible for reintroducing the British public to Shakespeare. Shakespeare's plays were integral to the theatre's resurgence at this time. Despite the upsurge in theatre-going, writing tragedies was not profitable, and thus few good tragedies were written.<ref>Taylor, 58.</ref> Shakespeare's works filled the gap in the repertoire, and his reputation grew as a result. By the end of the 18th century, one out of every six plays performed in London was by Shakespeare.<ref>Friedman, 19.</ref>

The actor, director, and producer [[David Garrick]] was a key figure in Shakespeare's theatrical renaissance.<ref>Taylor, 116ff.</ref>  His reportedly superb acting, unrivalled productions, numerous and important Shakespearean portraits, and his spectacular 1769 [[Shakespeare Jubilee]] helped promote Shakespeare as a marketable product and the national playwright. Garrick's [[Theatre Royal, Drury Lane|Drury Lane theatre]] was the centre of the Shakespeare mania which swept the nation.<ref>Boase, 92; Bruntjen, 72.</ref>

The visual arts also played a significant role in expanding Shakespeare's popular appeal. In particular, the [[Conversation piece (paintings)|conversation pieces]] designed chiefly for homes generated a wide audience for literary art, especially Shakespearean art.<ref>Altick, 34.</ref> This tradition began with [[William Hogarth]] (whose prints reached all levels of society) and attained its peak in the [[Royal Academy]] exhibitions, which displayed paintings, drawings, and sculptures. The exhibitions became important public events: thousands flocked to see them, and newspapers reported in detail on the works displayed.  They became a fashionable place to be seen (as did Boydell's Shakespeare Gallery, later in the century).  In the process, the public was refamiliarized with Shakespeare's works.<ref>Altick, 16–17; Merchant, 43–44; Taylor, 125.</ref>

===Shakespeare editions===
[[File:George Steevens.JPG|thumb|right|[[George Steevens]], one of the greatest Shakespeare scholars of the 18th century and the editor of the Boydell Shakespeare edition|alt=Black and White print. Half-length portrait of a Steevens. He has a long oval face, wears a small wig and has his left hand inside his jacket.]]
The rise in Shakespeare's popularity coincided with Britain's accelerating change from an [[oral tradition|oral]] to a [[print culture]].  Towards the end of the century, the basis of Shakespeare's high reputation changed. He had originally been respected as a playwright, but once the theatre became associated with the masses, Shakespeare's status as a "great writer" shifted. Two strands of Shakespearean print culture emerged: [[bourgeois]] popular editions and scholarly critical editions.<ref>Dobson, 100–30; Merchant, 43; Taylor, 62.</ref>

In order to turn a profit, booksellers chose well-known authors, such as [[Alexander Pope]] and [[Samuel Johnson]], to edit Shakespeare editions. According to Shakespeare scholar [[Gary Taylor (English literature scholar)|Gary Taylor]], Shakespearean criticism became so "associated with the dramatis personae of 18th-century English literature ... [that] he could not be extracted without uprooting a century and a half of the national canon".<ref>Taylor, 71.</ref> The 18th century's first Shakespeare edition, which was also the first illustrated edition of the plays, was published in 1709 by [[Jacob Tonson]] and edited by [[Nicholas Rowe (dramatist)|Nicholas Rowe]].<ref>Taylor, 74.</ref> The plays appeared in "pleasant and readable books in small format" which "were supposed ... to have been taken for common or garden use, domestic rather than library sets".<ref>Franklin, 11–12.</ref>  Shakespeare became "domesticated" in the 18th century, particularly with the publication of family editions such as Bell's in 1773 and 1785–86, which advertised themselves as "more instructive and intelligible; especially to the young ladies and to youth; glaring indecencies being removed".<ref>Qtd. in Dobson, 209.</ref>

Scholarly editions also proliferated. At first, these were edited by author-scholars such as Pope (1725) and Johnson (1765), but later in the century this changed.  Editors such as [[George Steevens]] (1773, 1785) and [[Edmond Malone]] (1790) produced meticulous editions with extensive footnotes.  The early editions appealed to both the middle class and to those interested in Shakespeare scholarship, but the later editions appealed almost exclusively to the latter.  Boydell's edition, at the end of the century, tried to reunite these two strands.  It included illustrations but was edited by George Steevens, one of the foremost Shakespeare scholars of the day.<ref>See Sherbo's study of Steevens and Taylor, 70ff.</ref>

==Boydell's Shakespeare venture==
[[File:BoydellProspectus.png|thumb|The prospectus for the Boydell venture states that "the foregoing work is undertaken in Honour of SHAKSPEARE,—with a view to encourage and improve the Arts of Painting and Engraving in this Kingdom".<ref name="ReferenceA">"Prospectus", ''Collection of Prints''.</ref>|alt=A printed prospectus that states the objectives of the Boydell project and those involved.]]

Boydell's Shakespeare project contained three parts: an illustrated edition of Shakespeare's plays; a folio of prints from the gallery (originally intended to be a folio of prints from the edition of Shakespeare's plays); and a public gallery where the original paintings for the prints would hang.<ref>Bruntjen, 71–72; Santaniello, 5.</ref>

The idea of a grand Shakespeare edition was conceived during a dinner at the home of [[Josiah Boydell]] (John's nephew) in late 1786.<ref name=Grove>West, "John Boydell".</ref>  Five important accounts of the occasion survive.<ref>"Preface", ''Collection of Prints'' by [[Josiah Boydell]]; "Advertisement" for the illustrated edition by [[George Nicol (bookseller)|George Nicol]]; court documents after the collapse of the venture by Josiah Boydell; [[Joseph Farington|Joseph Farington's]] diary entry; biography of [[George Romney (painter)|George Romney]] written by his son. For an analysis of the relative reliability of these sources, see Friedman.</ref> From these, a guest list and a reconstruction of the conversation have been assembled.  The guest list reflects the range of Boydell's contacts in the artistic world: it included [[Benjamin West]], painter to [[George III|King George III]]; [[George Romney (painter)|George Romney]], a renowned portrait painter; [[George Nicol (bookseller)|George Nicol]], bookseller to the king; [[William Hayley]], a poet; [[John Hoole]], a scholar and translator of [[Torquato Tasso|Tasso]] and [[Aristotle]]; and Daniel Braithwaite, secretary to the postmaster general and a patron of artists such as Romney and [[Angelica Kauffman]]. Most accounts also place the painter [[Paul Sandby]] at the gathering.<ref>Santaniello, 7.</ref>

Boydell wanted to use the edition to help stimulate a British [[School (discipline)|school]] of [[history painting]]. He wrote in the "Preface" to the folio that he wanted "to advance that art towards maturity, and establish an English School of Historical Painting".<ref>"Preface", ''Collection of Prints''; see Friedman, 4–5; Merchant, 69.</ref> A court document used by Josiah to collect debts from customers after Boydell's death relates the story of the dinner and Boydell's motivations:
<blockquote>
[Boydell said] he should like to wipe away the stigma that all foreign critics threw on this nation—that they had no genius for historical painting.  He said he was certain from his success in encouraging engraving that Englishmen wanted nothing but proper encouragement and a proper subject to excel in historical painting.  The encouragement he would endeavor to find if a proper subject were pointed out.  Mr. Nicol replied that there was one great National subject concerning which there could be no second opinion, and mentioned Shakespeare.  The proposition was received with acclaim by the [[Alderman]] [John Boydell] and the whole company.<ref>Qtd. in Friedman, 4–5.</ref>
</blockquote>
However, as Frederick Burwick argues in his introduction to a collection of essays on the Boydell Gallery, "[w]hatever  claims Boydell might make about furthering the cause of history painting in England, the actual rallying force that brought the artists together to create the Shakespeare Gallery was the promise of engraved publication and distribution of their works."<ref>Burwick, "Introduction", 18–19.</ref>

After the initial success of the Shakespeare Gallery, many wanted to take credit. [[Henry Fuseli]] long claimed that his planned Shakespeare ceiling (in imitation of the [[Sistine Chapel ceiling]]) had given Boydell the idea for the gallery.<ref>Friedman, 25.</ref> [[James Northcote (painter)|James Northcote]] claimed that his ''Death of Wat Tyler'' and ''Murder of the Princes in the Tower'' had motivated Boydell to start the project.<ref>Friedman 65.</ref> However, according to Winifred Friedman, who has researched the Boydell Gallery, it was probably [[Joshua Reynolds|Joshua Reynolds's]] [[Royal Academy]] lectures on the superiority of history painting that influenced Boydell the most.<ref>Friedman, 2.</ref>

The logistics of the enterprise were difficult to organise. Boydell and Nicol wanted to produce an illustrated edition of a multi-volume work and intended to bind and sell the 72 large prints separately in a folio. A gallery was required to exhibit the paintings from which the prints were drawn. The edition was to be financed through a subscription campaign, during which the buyers would pay part of the price up front and the remainder on delivery.  This unusual practice was necessitated by the fact that over [[Pound sterling|£]]350,000—an enormous sum at the time, worth about £{{formatprice|{{Inflation|UK|350000|1789|r=-4}}}} today{{inflation-fn|UK}}—was eventually spent.<ref>Hartmann, 58.</ref>  The gallery opened in 1789 with 34 paintings and added 33 more in 1790 when the first engravings were published.  The last volume of the edition and the ''Collection of Prints'' were published in 1803. In the middle of the project, Boydell decided that he could make more money if he published different prints in the folio than in the illustrated edition; as a result, the two sets of images are not identical.<ref name="Friedman">Friedman, 84.</ref>

Advertisements were issued and placed in newspapers. When a subscription was circulated for a medal to be struck, the copy read: "The encouragers of this great national undertaking will also have the satisfaction to know, that their names will be handed down to Posterity, as the Patrons of Native Genius, enrolled with their own hands, in the same book, with the best of Sovereigns."<ref>Qtd. in Friedman, 85–86.</ref>  The language of both the advertisement and the medal emphasised the role each subscriber played in the patronage of the arts. The subscribers were primarily middle-class Londoners, not aristocrats. Edmond Malone, himself an editor of a rival Shakespeare edition, wrote that "before the scheme was well-formed, or the proposals entirely printed off, near six hundred persons eagerly set down their names, and paid their subscriptions to a set of books and prints that will cost each person, I think, about ninety guineas; and on looking over the list, there were not above twenty names among them that anybody knew".<ref>Qtd. in Friedman 68–69.</ref>

==Illustrated Shakespeare edition and folio==
{{see also|Shakespeare's editors}}

[[File:Westall-Ophelia.jpg|thumb|left|[[Richard Westall|Richard Westall's]] ''Ophelia'', engraved by J. Parker for Boydell's illustrated edition of Shakespeare's ''Dramatic Works''|alt=An engraving taken from a painting shows Ophelia as a woman in a long white filmy dress with long blonde hair. She is beneath a large tree and holds onto a thin branch as she reaches out precariously over a river.]]
The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project.<ref name="ReferenceA" /> In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".<ref>"Advertisement", ''Dramatic Works of Shakespeare''.</ref>  The volumes themselves were handsome, with [[gilding|gilded]] pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the [[typography]] experts [[William Bulmer (printer)|William Bulmer]] and William Martin to develop and cut a [[Bulmer (typeface)|new typeface]] specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink".<ref>"Preface", ''Collection of Prints''; see also Bruntjen, 102–03 and Merchant, 69.</ref> Boydell also chose to use high-quality wove [[James Whatman (papermaker)|Whatman]] paper.<ref>Bruntjen, 102–03.</ref> The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the ''Dramatic Works'' were published in 1791 and the last in 1805.<ref>Merchant, 70–75.</ref>
[[File:John Opie - Winter's Tale, Act II. Scene III.jpg|300px|thumb|''[[The Winter's Tale]]'', Act II, scene 3, engraved by Jean Pierre Simon from a painting by [[John Opie]] commissioned and prepared for engraving by the Shakespeare Gallery.|alt=A man stands at the center of the engraving, dressed in armor. His sword is outstretched to his right and an elderly man is kissing it. At his right, a baby is lying in a bed, surrounded by soldiers.]]
Boydell was responsible for the "splendor", and [[George Steevens]], the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers".<ref name="Wenner 46">Wenner, 46.</ref> He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales.<ref name="Wenner 46" /> Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
{{quote|The thirty-six plays, printed from the texts of [[Isaac Reed|Reed]] and [[Edmond Malone|Malone]], divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.<ref>Wenner, 134.</ref>}}
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were [[First Folio]] readings.<ref>Wenner, 146.</ref>

Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included [[Richard Westall]], [[Thomas Stothard]], [[George Romney (painter)|George Romney]], [[Henry Fuseli]], [[Benjamin West]], [[Angelica Kauffman]], [[Robert Smirke (painter)|Robert Smirke]], [[James Durno]], [[John Opie]], [[Francesco Bartolozzi]], [[Thomas Kirk (artist)|Thomas Kirk]], [[Henry Thomson (painter)|Henry Thomson]], and Boydell's nephew and business partner, [[Josiah Boydell]].

The folio and the illustrated Shakespeare edition were "by far the largest single engraving enterprise ever undertaken in England".<ref>Gage, 27.</ref> As print collector and dealer Christopher Lennox-Boyd explains, "had there not been a market for such engravings, not one of the paintings would have been commissioned, and few, if any, of the artists would have risked painting such elaborate compositions".<ref name="Lennox">Lennox-Boyd, 45.</ref> Scholars believe that a variety of engraving methods were employed and that [[line engraving]] was the "preferred medium" because it was "clear and hardwearing" and because it had a high reputation. [[Stipple engraving]], which was quicker and often used to produce shading effects, wore out quicker and was valued less.<ref>Lennox-Boyd, 45; Gage, 29.</ref> Many plates were a mixture of both. Several scholars have suggested that [[mezzotint]] and [[aquatint]] were also used.<ref>See, for example, Gage, 29 and Burwick, "Introduction", 20.</ref> Lennox-Boyd, however, claims that "close examination of the plates confirms" that these two methods were not used and argues that they were "totally unsuitable":  mezzotint wore quickly and aquatint was too new (there would not have been enough artists capable of executing it).<ref name="Lennox" /> Most of Boydell's engravers were also trained artists; for example, Bartolozzi was renowned for his stippling technique.<ref>Burwick, "Introduction", 19–20.</ref>

[[File:A Scene from Troilus and Cressida - Angelica Kauffmann.jpg|thumb|300px|[[Angelica Kauffman]] described her scene from ''[[Troilus and Cressida]]'', engraved by [[Luigi Schiavonetti]] for the folio: Troilus "sees his wife in loving discourse with Diomedes and he wants to rush into the tent to catch them by surprise, but Ulysses and the other keep him back by force".<ref>Qtd. on [http://shakespeare.emory.edu/illustrated_showimage.cfm?imageid=303 Shakespeare Illustrated] {{webarchive|url=https://web.archive.org/web/20060910153750/http://shakespeare.emory.edu/illustrated_showimage.cfm?imageid=303 |date=10 September 2006 }}. Harry Rusche. [[Emory University]]. Retrieved on 20 November 2007.</ref>|alt=A man and a woman are at the center of the image, talking to each other. At the left of the image, a man is trying to rush in and confront them, but is held back by soldiers.]]
Boydell's relationships with his illustrators were generally congenial. One of them, [[James Northcote (painter)|James Northcote]], praised Boydell's liberal payments. He wrote in an 1821 letter that Boydell "did more for the advancement of the arts in England than the whole mass of the nobility put together!  He paid me more nobly than any other person has done; and his memory I shall ever hold in reverence".<ref>Letter to Mrs. Carey, 3 October 1821, qtd. in Hartmann, 61.</ref> Boydell typically paid the painters between £105 and £210, and the engravers between £262 and £315.<ref>Burwick, "Introduction", 19.</ref> [[Joshua Reynolds]] at first declined Boydell's offer to work on the project, but he agreed when pressed.  Boydell offered Reynolds ''carte blanche'' for his paintings, giving him a down payment of £500, an extraordinary amount for an artist who had not even agreed to do a specific work.  Boydell eventually paid him a total of £1,500.<ref>Bruntjen, 75.</ref><ref>For present-day equivalent amounts, most payments should be increased by about two orders of magnitude. Giving precise present-day figures is difficult given the problem of [[measuring economic worth over time]].</ref>

There are 96 illustrations in the nine volumes of the illustrated edition and each play has at least one.  Approximately two-thirds of the plays, 23 out of 36, are each illustrated by a single artist. Approximately two-thirds of the total number of illustrations, or 65, were completed by three artists:  [[William Hamilton (painter)|William Hamilton]], [[Richard Westall]], and [[Robert Smirke (painter)|Robert Smirke]]. The primary illustrators of the edition were known as book illustrators, whereas a majority of the artists included in the folio were known for their paintings.<ref name="Boase">Boase, 96.</ref> Lennox-Boyd argues that the illustrations in the edition have a "uniformity and cohesiveness" that the folio lacks because the artists and engravers working on them understood book illustration while those working on the folio were working in an unfamiliar medium.<ref>Lennox-Boyd, 49.</ref>

The print folio, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' (1805), was originally intended to be a collection of the illustrations from the edition, but a few years into the project, Boydell altered his plan.  He guessed that he could sell more folios and editions if the pictures were different. Of the 97 prints made from paintings, two-thirds of them were made by ten of the artists.  Three artists account for one-third of the paintings. In all, 31 artists contributed works.<ref name="Boase" />

==Gallery building==
[[File:British Institution at 52 Pall Mall.jpg|thumb|left|[[George Dance the Younger|George Dance's]] Shakespeare Gallery building, shown in 1851 after its purchase by the [[British Institution]], wood-engraving by [[Mason Jackson]] after from a drawing by Henry Anelay.|alt=Engraving of a building designed in the classical style, with pilasters, a pediment, and a statue on the top section, and a rounded arch over the doorway on the lower.]]

In June 1788, Boydell and his nephew secured the lease on a site at 52 [[Pall Mall, London|Pall Mall]] ({{coord|51|30|20.5|N|0|8|12|W|region:GB_type:landmark|display=inline,title}}) to build the gallery and engaged [[George Dance the Younger|George Dance]], then the Clerk of the City Works, as the architect for the project.<ref name=SurveyofLondon_2930>[http://www.british-history.ac.uk/report.aspx?compid=40580 Sheppard, 325–38].</ref> Pall Mall at that time had a mix of expensive residences and commercial operations, such as bookshops and gentleman's clubs, popular with fashionable London society. The area also contained some less genteel establishments: King's Place (now Pall Mall Place), an alley running to the east and behind Boydell's gallery, was the site of Charlotte Hayes's high-class [[brothel]].<ref>[http://www.british-history.ac.uk/report.aspx?compid=40579 Sheppard, 323].</ref> Across King's Place, immediately to the east of Boydell's building, 51 Pall Mall had been purchased on 26 February 1787 by [[George Nicol (bookseller)|George Nicol]], bookseller and future husband of Josiah's elder sister, Mary Boydell. As an indication of the changing character of the area, this property had been the home of Goostree's gentleman's club from 1773 to 1787. Begun as a gambling establishment for wealthy young men, it had later become a reformist political club that counted [[William Pitt the Younger|William Pitt]] and [[William Wilberforce]] as members.<ref name=SurveyofLondon_2930/>

[[File:Thomas Banks Shakespeare attended by Painting and Poetry c 1789.jpg|thumb|Engraving by [[Benjamin Smith (engraver)|Benjamin Smith]] after [[Thomas Banks (sculptor)|Thomas Banks's]] sculpture of ''Shakespeare attended by Painting and Poetry''|alt=Engraving of a sculpture of a man seated on a rock, surrounded by two bare-breasted nymphs. One is playing a harp and placing a crown of laurels on his head.]]
Dance's Shakespeare Gallery building had a monumental, [[Neoclassical architecture|neoclassical]] stone front, and a full-length exhibition hall on the ground floor. Three interconnecting exhibition rooms occupied the upper floor, with a total of more than {{convert|4000|sqft|m2}} of wall space for displaying pictures. The two-storey façade was not especially large for the street, but its solid classicism had an imposing effect.<ref name=SurveyofLondon_2930/> Some reports describe the exterior as "sheathed in copper".<ref>Burwick, "[http://www.shakespeare-gesellschaft.de/publikationen/boydell-katalog/frederick-burwick.html Introduction: The Boydell Shakespeare Gallery] {{Webarchive|url=https://web.archive.org/web/20150527102235/http://www.shakespeare-gesellschaft.de/publikationen/boydell-katalog/frederick-burwick.html |date=27 May 2015 }}". Retrieved on 11 January 2008.</ref>

The lower storey of the façade was dominated by a large, rounded-arched doorway in the centre. The [[Molding (decorative)|unmoulded]] arch rested on wide piers, each broken by a narrow window, above which ran a simple [[cornice]]. Dance placed a [[Transom (architectural)|transom]] across the doorway at the level of the cornice bearing the inscription "Shakespeare Gallery". Below the transom were the main entry doors, with glazed panels and side lights matching the flanking windows. A radial [[fanlight]] filled the [[lunette]] above the transom. In each of the [[spandrels]] to the left and right of the arch, Dance set a carving of a lyre inside a ribboned wreath. Above all this ran a panelled [[band course]] dividing the lower storey from the upper.<ref name=SurveyofLondon_2930/>

The upper façade contained paired [[pilaster]]s on either side, and a thick [[entablature]] and triangular [[pediment]]. The architect [[Sir John Soane]] criticised Dance's combination of slender pilasters and a heavy entablature as a "strange and extravagant absurdity".<ref>Lecture to the Royal Academy, 29 January 1810. Qtd. in Gillian Darley, ''John Soane: An Accidental Romantic''. New Haven: Yale University Press (1999), 194–95. {{ISBN|0-300-08695-4}}.</ref> The capitals topping the pilasters sported [[volute]]s in the shape of [[ammonite]] fossils. Dance invented this neo-classical feature, which became known as the [[Ammonite Order]], specifically for the gallery. In a recess between the pilasters, Dance placed [[Thomas Banks (sculptor)|Thomas Banks's]] sculpture ''Shakespeare attended by Painting and Poetry'', for which the artist was paid 500 [[Guinea (British coin)|guineas]]. The sculpture depicted Shakespeare, reclining against a rock, between the Dramatic Muse and the Genius of Painting. Beneath it was a panelled pedestal inscribed with a quotation from ''Hamlet'': "He was a Man, take him for all in all, I shall not look upon his like again".<ref name=SurveyofLondon_2930/><ref>[[William Shakespeare]], ''[[Hamlet]]''. [[s:Hamlet#Scene 2. A room of state in the castle.|Act I, scene ii]]. ''[[Wikisource]]''. Retrieved on 15 January 2008.</ref>

==Reaction==
[[File:FuseliMacbethBoydell.jpg|thumb|right|[[Henry Fuseli|Fuseli]] "reveled in the monumental and grotesque" in his scenes from ''[[Macbeth]]'', engraving by James Caldwell<ref>Hartmann, 216.</ref>|alt=A nearly naked man with finely defined muscles stands strongly with his right arm upraised. In the background are three amorphous figures swirling around with hoods over their heads. There is a second man standing between the first and the figures, pushing the figures away.]]

The Shakespeare Gallery, when it opened on 4 May 1789, contained 34 paintings, and by the end of its run it had between 167 and 170.<ref>Friedman, 4, 83; Santaniello, 5.</ref>  (The exact inventory is uncertain and most of the paintings have disappeared; only around 40 paintings can be identified with any certainty.<ref>Santaniello, 5.</ref>) According to Frederick Burwick, during its sixteen-year operation, the Gallery reflected the transition from [[Neoclassicism]] to [[Romanticism]].<ref>Burwick, "Romantic Reception", 150.</ref> Works by artists such as [[James Northcote (painter)|James Northcote]] represent the conservative, neoclassical elements of the gallery, while those of [[Henry Fuseli]] represent the newly emerging Romantic movement. [[William Hazlitt]] praised Northcote in an essay entitled "On the Old Age of Artists", writing "I conceive any person would be more struck with Mr. Fuseli at first sight, but would wish to visit Mr. Northcote oftener."<ref>Qtd. in Burwick, "Romantic Reception", 150.</ref>

The gallery itself was a fashionable hit with the public. Newspapers carried updates of the construction of the gallery, down to drawings for the proposed façade.<ref>Friedman, 70; Santaniello, 5–6.</ref> The ''Daily Advertiser'' featured a weekly column on the gallery from May through August (exhibition season). Artists who had influence with the press, and Boydell himself, published anonymous articles to heighten interest in the gallery, which they hoped would increase sales of the edition.<ref>Friedman, 73; Bruntjen, 92.</ref>

At the beginning of the enterprise, reactions were generally positive.<ref>Santaniello, 6.</ref> The ''[[Public Advertiser]]'' wrote on 6 May 1789: "the pictures in general give a mirror of the poet ... [The Shakespeare Gallery] bids fair to form such an epoch in the History of the Fine Arts, as will establish and confirm the superiority of the English School".<ref name="Friedman 74">Qtd. in Friedman, 74.</ref> ''[[The Times]]'' wrote a day later:
[[File:Gillray Shakespeare Sacrificed 20 June 1789.jpg|thumb|left|[[James Gillray|James Gillray's]] cartoon satirising the Boydell venture; caption reads: "Shakespeare Sacrificed; or, The Offering to Avarice"|alt=A man is kneeling before an altar where papers are burning, fanned by a fool. The smoke contains a variety of fanciful images. A mall gnome, sitting in a volume with the word "subscribers" on it, holds two moneybags.]]
{{quote|This establishment may be considered with great truth, as the first stone of an English School of Painting; and it is peculiarly honourable to a great commercial country, that it is indebted for such a distinguished circumstance to a commercial character—such an institution—will place, in the Calendar of Arts, the name of Boydell in the same rank with the [[Medici]] of Italy.<ref name="Friedman 74" />}}
Fuseli himself may have written the review in the ''[[Analytical Review]]'', which praised the general plan of the gallery while at the same time hesitating: "such a variety of subjects, it may be supposed, must exhibit a variety of powers; all cannot be the first; while some must soar, others must skim the meadow, and others content themselves to walk with dignity".<ref>Qtd. in Friedman, 73–74.</ref> However, according to Frederick Burwick, critics in Germany "responded to the Shakespeare Gallery with far more thorough and meticulous attention than did the critics in England".<ref>Burwick, "Romantic Reception", 144.</ref>

Criticism increased as the project dragged on: the first volume did not appear until 1791.<ref name="Friedman" /> [[James Gillray]] published a cartoon labelled "Boydell sacrificing the Works of Shakespeare to the Devil of Money-Bags".<ref>Merchant, 76; Santaniello, 6.</ref> The essayist and soon-to-be co-author of the children's book ''[[Tales from Shakespeare]]'' (1807) [[Charles Lamb (writer)|Charles Lamb]] criticised the venture from the outset:
{{quote|What injury did not Boydell's Shakespeare Gallery do me with Shakespeare.  To have Opie's Shakespeare, Northcote's Shakespeare, light headed Fuseli's Shakespeare, wooden-headed West's Shakespeare, deaf-headed Reynolds' Shakespeare, instead of my and everybody's Shakespeare.  To be tied down to an authentic face of Juliet!  To have Imogen's portrait!  To confine the illimitable!<ref>Qtd. in Merchant, 67.</ref>}}
Northcote, while appreciating Boydell's largesse, also criticised the results of the project: "With the exception of a few pictures by Joshua [Reynolds] and [John] Opie, and—I hope I may add—myself, it was such a collection of slip-slop imbecility as was dreadful to look at, and turned out, as I had expected it would, in the ruin of poor Boydell's affairs".<ref>Merchant, 75; Friedman, 160.</ref>

==Collapse==
[[File:Northcote-MurderPrinces.jpg|right|thumb|''[[Richard III (play)|Richard III]]: Act IV, Scene 3: Murder of the princes'' (1791), engraved by [[James Heath (engraver)|James Heath]] after a painting by [[James Northcote (painter)|James Northcote]]|alt=Two young boys with curls sleeping together as an armed man prepares to smother them and another holds a light assisting him.]]
By 1796, subscriptions to the edition had dropped by two-thirds.<ref name="Friedman" /> The painter and diarist [[Joseph Farington]] recorded that this was a result of the poor engravings:
<blockquote>
West said He looked over the Shakespeare prints and was sorry to see them of such inferior quality.  He said that excepting that from His Lear by Sharpe, that from Northcote's children in the Tower, and some small ones, there were few that could be approved.  Such a mixture of dotting and engraving, and such a general deficiency in respect of drawing which He observed the Engravers seemed to know little of, that the volumes presented a mass of works which He did not wonder many subscribers had declined to continue their subscription.<ref>Qtd. in Friedman, 85.</ref>
</blockquote>
The mix of engraving styles was criticised; line engraving was considered the superior form and artists and subscribers disliked the mixture of lesser forms with it.<ref>Bruntjen, 113–14; Lennox-Boyd, 45.</ref> Moreover, Boydell's engravers fell behind schedule, delaying the entire project.<ref name="Friedman" /> He was forced to engage lesser artists, such as Hamilton and Smirke, at a lower price to finish the volumes as his business started to fail.<ref>Merchant, 65–67; Boase, 96.</ref> Modern art historians have generally concurred that the quality of the engravings, particularly in the folio, was poor. Moreover, the use of so many different artists and engravers led to a lack of stylistic cohesion.<ref>Merchant, 66–67; Lennox-Boyd,  45, 49.</ref>

Although the Boydells ended with 1,384 subscriptions,<ref>Lennox-Boyd, 46.</ref> the rate of subscriptions dropped, and remaining subscriptions were also increasingly in doubt.  Like many businesses at the time, the Boydell firm kept few records. Only the customers knew what they had purchased.<ref>Friedman, 68.</ref>  This caused numerous difficulties with debtors who claimed they had never subscribed or had subscribed for less.  Many subscribers also defaulted, and Josiah Boydell spent years after John's death attempting to force them to pay.

The Boydells focused all their attention on the Shakespeare edition and other large projects, such as ''The History of the River Thames'' and ''The Complete Works of John Milton'', rather than on lesser, more profitable ventures.<ref>Bruntjen, 113.</ref>  When both the Shakespeare enterprise and the Thames book failed, the firm had no capital to fall back upon. Beginning in 1789, with the onset of the [[French Revolution]], John Boydell's export business to Europe was cut off.  By the late 1790s and early 19th century, the two-thirds of his business that depended upon the export trade was in serious financial difficulty.<ref name=SurveyofLondon_2930/><ref>Friedman, 87–88.</ref>

In 1804, John Boydell decided to appeal to Parliament for a [[private bill]] to authorise a lottery to dispose of everything in his business.  The bill received [[royal assent]] on 23 March, and by November the Boydells were ready to sell tickets.<ref>{{London Gazette |issue=15685 |date=23 March 1804 |page=341}}</ref><ref>{{London Gazette |issue=15752 |date=6 November 1804 |page=1368}}</ref> John Boydell died before the lottery was drawn on 28 January 1805, but lived long enough to see each of the 22,000 tickets purchased at three [[guinea (coin)|guineas]] apiece (£{{formatnum:{{inflation|UK|3.15|1804|r=-1}}}} each in modern terms).  To encourage ticket sales and reduce unsold inventory, every purchaser was guaranteed to receive a print worth one guinea from the Boydell company's stock.  There were 64 winning tickets for major prizes, the highest being the Gallery itself and its collection of paintings.  This went to [[William Tassie]], a [[engraved gem|gem engraver]] and [[cameo (carving)|cameo modeller]], of Leicester Fields (now [[Leicester Square]]).  Josiah offered to buy the gallery and its paintings back from Tassie for £10,000 (worth about £{{formatnum:{{inflation|UK|10000|1805|r=-4}}}} now), but Tassie refused and auctioned the paintings at [[Christie's]].<ref>Friedman, 4, 87–90; Merchant, 70–75.</ref>  The painting collection and two reliefs by [[Anne Seymour Damer|Anne Damer]] fetched a total of £6,181 18s. 6d.  The Banks sculpture group from the façade was initially intended to be kept as a monument for Boydell's tomb. Instead, it remained part of the façade of the building in its new guise as the [[British Institution]] until the building was torn down in 1868–69. The Banks sculpture was then moved to [[Stratford-upon-Avon]] and re-erected in [[New Place]] Garden between June and November 1870.<ref name=SurveyofLondon_2930/> The lottery saved Josiah from bankruptcy and earned him £45,000, enabling him to begin business again as a printer.

==Legacy==
[[File:BowyerBible.jpg|thumb|left|Both [[Robert Bowyer]] and [[Thomas Macklin]] embarked on illustrated editions of the ''Bible'' which were eventually joined together into "Bowyer's Bible".|alt=Print of a multivolume work in a decorative cabinet.]]
From the outset, Boydell's project inspired imitators. In April 1788, after the announcement of the Shakespeare Gallery, but a year before its opening, [[Thomas Macklin]] opened a Gallery of the Poets in the former [[Royal Academy]] building on the south side of Pall Mall. The first exhibition featured one work from each of 19 artists, including Fuseli, Reynolds, and [[Thomas Gainsborough]]. The gallery added new paintings of subjects from poetry each year, and from 1790 supplemented these with scenes from the Bible. The Gallery of the Poets closed in 1797, and its contents were offered by lottery.<ref>McCalman, 194.</ref> This did not deter [[Henry Fuseli]] from opening a [[John Milton|Milton]] Gallery in the same building in 1799. Another such venture was the Historic Gallery opened by [[Robert Bowyer]] in [[Schomberg House]] at 87 Pall Mall in about 1793. The gallery accumulated 60 paintings (many by the same artists who worked for Boydell) commissioned to illustrate a new edition of [[David Hume|David Hume's]] ''[[The History of Great Britain (Hume)|The History of Great Britain]]''.<ref name="Bruntjen 118–21">Bruntjen, 118–21.</ref> Ultimately, Bowyer had to seek parliamentary approval for a sale by lottery in 1805, and the other ventures, like Boydell's, also ended in financial failure.<ref name="Bruntjen 118–21" /><ref name=GV>Graham-Vernon, Deborah. [http://www.oxforddnb.com/view/article/3091 "Robert Bowyer"] (subscription required). ''[[Oxford Dictionary of National Biography]]''. Oxford University Press. 2004. Retrieved on 31 January 2008.</ref>
[[File:George Romney - William Shakespeare - The Tempest Act I, Scene 1.jpg|300px|thumb|''[[The Tempest]]'', Act I, Scene I, engraved by [[Benjamin Smith (engraver)|Benjamin Smith]] after a painting by [[George Romney (painter)|George Romney]].|alt=At right, a man stands in a long robe with his arms upraised. A woman clings to him. At left, a crew of men attempt to save a ship from a storm.]]

The building in Pall Mall was purchased in 1805 by the [[British Institution]], a private club of connoisseurs founded that year to hold exhibitions.  It remained an important part of the London art scene until disbanded in 1867, typically holding a Spring exhibition of new works for sale from the start of February to the first week of May, and a loan exhibition of [[old master]]s, generally not for sale, from the first week of June to the end of August.<ref>Egerton, 391 and Index</ref>

The paintings and engravings that were part of the Boydell Gallery affected the way Shakespeare's plays were staged, acted, and illustrated in the 19th century. They also became the subject of criticism in important works such as [[Romantic poetry|Romantic poet]] and essayist [[Samuel Taylor Coleridge|Samuel Taylor Coleridge's]] "Lectures on Shakespeare" and [[William Hazlitt|William Hazlitt's]] dramatic criticism. Despite Charles Lamb's criticism of the Gallery's productions, Charles and [[Mary Lamb|Mary Lamb's]] children's book, ''[[Tales from Shakespeare]]'' (1807), was illustrated using plates from the project.<ref>Burwick, "Romantic Reception", 144–45.</ref>

The Boydell enterprise's most enduring legacy was the folio. It was reissued throughout the 19th century, and in 1867, "by the aid of photography the whole series, excepting the portraits of their Majesties George III. and Queen Charlotte, is now presented in a handy form, suitable for ordinary libraries or the drawing-room table, and offered as an appropriate memorial of the tercentenary celebration of the poet's birth".<ref>Shakespeare Gallery, xx.</ref> Scholars have described Boydell's folio as a precursor to the modern [[coffee table book]].<ref>Bruntjen, 160.</ref>

==List of art works==
The ''Folio'' and ''Illustrated Edition'' lists were taken from Friedman's ''Boydell's Shakespeare Gallery''.

===Sculptures===
* ''Shakespeare attended by Painting and Poetry'' by [[Thomas Banks (sculptor)|Thomas Banks]] (on façade of gallery building)
** Present location: New Place Gardens, Stratford-upon-Avon
* ''[[:Image:Anne seymour damer coriolanus.JPG|Coriolanus]]'' by [[Anne Seymour Damer]] (''bas relief'')
* ''[[:Image:Anne seymour damer antony and cleopatra.JPG|Antony and Cleopatra]]'' by Anne Seymour Damer (''bas relief'')

===Paintings===
The ''Paintings'' list is derived from the numbered catalogue ''The exhibition of the Shakspeare gallery, Pall-Mall: being the last time the pictures can ever be seen as an entire collection'' (London: W. Bulmer & Co., 1805), ''The Boydell Shakespeare Gallery'' edited by Walter Pape and Frederick Burwick (Bottrop: Peter Pomp, 1996), and [http://www.whatjanesaw.org/1796/rooms.php?location=NRNE "What Jane Saw"]. 
{| class="wikitable sortable"
|+ Boydell Shakespeare Gallery list of paintings
|-
! Boydell number !! Artist !! Play title !! Act, scene (#.#) !! Location !! Image
|-
| 1 || [[James Northcote]] || [[Richard II (play)|''Richard II'']] || 5.2 || [[Royal Albert Memorial Museum]] ||
|-
| 2 || [[James Northcote]] || [[Richard III (play)|''Richard III'']] || 4.3 || Collection of Richard Herner, National Trust ||
|-
| 3 || [[John Opie]] || ''[[The Winter's Tale]]'' || 2.3 || Northbrook Sale, Straton Park, 27 November 1929 ||
|-
| 4 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Taming of the Shrew]]'' || Induction ||  ||
|-
| 5 || Thomas Kirk || ''[[Titus Andronicus]]'' || 4.1 ||  ||
|-
| 6 || [[William Hamilton (painter)|William Hamilton]] || ''[[Twelfth Night]]'' || 5.1 ||  ||
|-
| 7 || [[William Hamilton (painter)|William Hamilton]] || ''[[Love's Labour's Lost]]'' || 4.1 ||  ||
|-
| 8 || [[John Opie]] || ''[[Henry VI, Part 1]]'' || 2.3 ||  ||
|-
| 9 || [[William Hamilton (painter)|William Hamilton]] || ''[[The Winter's Tale]]'' || 5.3 || Christie's, 24 July 1953, no. 40 ||
|-
| 10 || [[James Northcote]] || [[King John (play)|''King John'']] || 4.1 || [[Royal Shakespeare Company]] ||
|-
| 11 || [[Joshua Reynolds]] || ''[[Macbeth]]'' || 4.1 || [[Petworth House]] ||
|-
| 12 || [[John Hoppner]] || ''[[Cymbeline]]'' || 3.4 || Christie's, C.K.M. Neeld Sale, 16 November 1962, no. 86 ||
|-
| 13 || [[Joshua Reynolds]] || ''[[Henry VI, Part 2]]'' || 3.3 || [[Petworth House]] ||
|-
| 14 || [[Henry Fuseli]] || ''[[King Lear]]'' || 1.1 || [[Art Gallery of Ontario]] ||
|-
| 15 || [[William Hamilton (painter)|William Hamilton]] || ''[[As You Like It]]'' || 5.4 || [[Brighton and Hove|Brighton and Hove Museums and Art Galleries]] ||
|-
| 16 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Henry VI, Part 1]]'' || 2.2 ||  ||
|-
| 17 || [[James Northcote]] || ''[[Henry VI, Part 3]]'' || 5.7 ||  ||
|-
| 18 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Merry Wives of Windsor]]'' || 5.5 ||  ||
|-
| 19 || [[Thomas Stothard]] || [[Henry VIII (play)|''Henry VIII'']] || 1.4 ||  ||
|-
| 20 || [[William Hamilton (painter)|William Hamilton]] || ''[[Much Ado About Nothing]]'' || 4.1 || Christie's, 24 July 1953, no. 41 ||
|-
| 21 || [[Henry Fuseli]] || ''[[Henry VI, Part 2]]'' || 5.4 ||  ||
|-
| 22 || [[Henry Howard (painter)|Henry Howard]] || ''[[Timon of Athens]]'' || 4.1 ||  ||
|-
| 23 || Thomas Kirk || ''[[Titus Andronicus]]'' || 4.2 || [[Stratford-upon-Avon]] ||
|-
| 24 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[As You Like It]]'' || 4.3 ||  ||
|-
| 25 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Merry Wives of Windsor]]'' || 4.1 || R. Hall McCormick sale New York, 15 April 1920, no. 28, as ''The New Page'' ||
|-
| 26 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[All's Well That Ends Well]]'' || 1.3 ||  ||
|-
| 27 || [[William Hamilton (painter)|William Hamilton]] || ''[[Twelfth Night]]'' || 1.5 ||  ||
|-
| 28 || [[Richard Westall]] || ''[[Cymbeline]]'' || 3.6 || [[Folger Shakespeare Library]] ||
|-
| 29 || [[Richard Westall]] || ''[[Cymbeline]]'' || 2.2 ||  ||
|-
| 30 || [[William Hamilton (painter)|William Hamilton]] || ''[[Twelfth Night]]'' || 4.3 || [[Folger Shakespeare Library]] || [[File:Olivia's proposal (Hamilton, c.1796).jpg|150px]]
|-
| 31 || [[William Hamilton (painter)|William Hamilton]] || ''[[Henry VI, Part 1]]'' || 5.4 ||  ||
|-
| 32 || [[William Hamilton (painter)|William Hamilton]] || ''[[Henry VI, Part 3]]'' || 5.5 ||  ||
|-
| 33 || [[William Hamilton (painter)|William Hamilton]] || ''[[Henry VI, Part 3]]'' || 3.2 || Christie's, 31 March 1967 ||
|-
| 34 || [[William Hamilton (painter)|William Hamilton]] || ''[[Twelfth Night]]'' || 2.3 || [[Folger Shakespeare Library]] ||
|-
| 35 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[Love's Labour's Lost]]'' || 5.2 ||  ||
|-
| 36 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[All's Well That Ends Well]]'' || 2.3 || [[Folger Shakespeare Library]] || [[File:Helena and Count Bertram before the King of France (Wheatley, 1793).jpg|150px]]
|-
| 37 || [[Richard Westall]] || [[Henry VIII (play)|''Henry VIII'']] || 5.1 ||  ||
|-
| 38 || [[Richard Westall]] || ''[[Macbeth]]'' || 3.4 ||  ||
|-
| 39 || [[Richard Westall]] || ''[[Macbeth]]'' || 5.1 ||  ||
|-
| 40 || [[Richard Westall]] || [[Richard III (play)|''Richard III'']] || 3.4 ||  ||
|-
| 41 || [[Josiah Boydell]] || ''[[Othello]]'' || 5.2 ||  ||
|-
| 42 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[King Lear]]'' || 4.7 || [[Folger Shakespeare Library]] || [[File:The Awakening of King Lear (Smirke, c. 1792).jpg|150px]]
|-
| 43 || [[Henry Howard (painter)|Henry Howard]] || ''[[Timon of Athens]]'' || 1.2 ||  ||
|-
| 44 || [[Robert Ker Porter]] || ''[[Coriolanus]]'' || 4.5 ||  ||
|-
| 45 || [[Richard Westall]] || [[Henry V (play)|''Henry V'']] || 3.3 ||  ||
|-
| 46 || [[Richard Westall]] || ''[[Macbeth]]'' || 1.3 ||  ||
|-
| 47 || [[Robert Ker Porter]] || ''[[Coriolanus]]'' || 1.3 ||  ||
|-
| 48 || [[Richard Westall]] || [[Julius Caesar (play)|''Julius Caesar'']] || 3.1 ||  ||
|-
| 49 || [[Samuel Woodforde]] || ''[[Titus Andronicus]]'' || 2.3 || [[Stratford-upon-Avon]] ||
|-
| 50 || [[Richard Westall]] || [[King John (play)|''King John'']] || 3.4 ||  ||
|-
| 51 || [[Richard Westall]] || [[Henry VIII (play)|''Henry VIII'']] || 4.2 ||  ||
|-
| 52 || [[Richard Westall]] || ''[[Hamlet]]'' || 3.4 ||  ||
|-
| 53 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[As You Like It]]'' || 2.6 ||  ||
|-
| 54 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Romeo and Juliet]]'' || 2.5 || R. Hall McCormick sale New York, 15 April 1920, no. 29, as ''The Obdurate Mother'' ||
|-
| 55 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Henry IV, Part 1]]'' || 5.4 ||  ||
|-
| 56 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Measure for Measure]]'' || 2.4 || ||
|-
| 57 || [[William Hamilton (painter)|William Hamilton]] || ''[[Othello]]'' || 4.2 ||  ||
|-
| 58 || [[Richard Westall]] || ''[[Hamlet]]'' || 4.7 ||  ||
|-
| 59 || [[William Hamilton (painter)|William Hamilton]] || [[Richard II (play)|''Richard II'']] || 3.2 || [[Sir John Soane's Museum]] ||
|-
| 60 || [[William Hamilton (painter)|William Hamilton]] || ''[[Henry VI, Part 2]]'' || 3.2 ||  ||
|-
| 61 || [[Robert Ker Porter]] || [[King John (play)|''King John'']] || 4.3 ||  ||
|-
| 62 || [[Richard Westall]] || [[Julius Caesar (play)|''Julius Caesar'']] || 5.5 ||  ||
|-
| 63 || [[William Hamilton (painter)|William Hamilton]] || ''[[The Tempest]]'' || 3.1 || Christie's, 4 August 1944, no. 58 ||
|-
| 64 || [[William Hamilton (painter)|William Hamilton]] || ''[[Henry VI, Part 2]]'' || 2.2 ||  ||
|-
| 65 || [[William Hamilton (painter)|William Hamilton]] || [[Richard II (play)|''Richard II'']] || 5.2 || [[Folger Shakespeare Library]] || [[File:The Duke of York discovering his son Aumerle's treachery (Hamilton, late 1790s).jpg|150px]]
|-
| 66 || [[William Hamilton (painter)|William Hamilton]] || ''[[Henry VI, Part 1]]'' || 2.5 ||  ||
|-
| 67 || [[William Hamilton (painter)|William Hamilton]] || ''[[The Winter's Tale]]'' || 2.1 ||  ||
|-
| 68 || [[Richard Westall]] || ''[[The Merchant of Venice]]'' || 3.2 ||  ||
|-
| 69 || [[William Hamilton (painter)|William Hamilton]] || ''[[The Winter's Tale]]'' || 2.3 ||  ||
|-
| 70 || [[Richard Westall]] || ''[[Cymbeline]]'' || 2.4 ||  ||
|-
| 71 || [[Henry Fuseli]] || ''[[Hamlet]]'' || 1.4 ||  ||
|-
| 72 || [[Richard Westall]] || ''[[Macbeth]]'' || 1.5 ||  ||
|-
| 73 || [[Henry Tresham]] || ''[[Antony and Cleopatra]]'' || 3.9 ||  ||
|-
| 74 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Henry IV, Part 1]]'' || 2.4 || [[Bob Jones University]] ||
|-
| 75 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Much Ado About Nothing]]'' || 4.2 || [[Royal Shakespeare Company]] ||
|-
| 76 || [[James Northcote]] || ''[[Henry VI, Part 1]]'' || 2.5 || Northbrook Sale, Straton Park, 27 November 1929, no. 493 ||
|-
| 77 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[The Winter's Tale]]'' || 4.3 || [[Royal Shakespeare Company]] ||
|-
| 78 || [[James Northcote]] || ''[[Romeo and Juliet]]'' || 5.3 || [[Folger Shakespeare Library]] || [[File:Folger-265225.jpg|150px]]
|-
| 79 || [[Angelica Kauffman]] || ''[[Troilus and Cressida]]'' || 5.2 || [[Petworth House]] ||
|-
| 80 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Merry Wives of Windsor]]'' || 1.1 || [[Royal Shakespeare Company]]; Anne Page only, [[Folger Shakespeare Library]] ||
|-
| 81 || [[John Opie]] || ''[[Romeo and Juliet]]'' || 4.5 || Christie's, 1892 ||
|-
| 82 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Merchant of Venice]]'' || 2.5 || [[Stratford-upon-Avon]] ||
|-
| 83 || William Miller || ''[[Henry VI, Part 3]]'' || 4.5 ||  ||
|-
| 84 || [[Benjamin West]] || ''[[King Lear]]'' || 3.4 || [[Museum of Fine Arts, Boston]]; [[Rhode Island School of Design]] ||
|-
| 85 || [[Raphael Lamar West]] || ''[[As You Like It]]'' || 4.3 ||  ||
|-
| 86 || [[Angelica Kauffman]] || ''[[The Two Gentlemen of Verona]]'' || 5.3 || [[Davis Museum and Cultural Center at Wellesley College]] ||
|-
| 87 || [[Henry Fuseli]] || ''[[The Tempest]]'' || 1.2 || [[York Museums Trust]], Head of Prospero only ||
|-
| 88 || [[Benjamin West]] || ''[[Hamlet]]'' || 4.5 || [[Cincinnati Art Museum]] || [[File:Benjamin West - Hamlet- Act IV, Scene V (Ophelia Before the King and Queen) - Google Art Project.jpg|150px]]
|-
| 89 || [[George Romney (painter)|George Romney]] || ''[[Troilus and Cressida]]'' || 2.2 || Mrs. Tankerville Chamberlayne ||
|-
| 90 || [[Richard Westall]] || [[Julius Caesar (play)|''Julius Caesar'']] || 4.3 ||  ||
|-
| 91 || [[John Graham (Scottish painter)|John Graham]] || ''[[Othello]]'' || 5.2 ||  ||
|-
| 92 || Thomas Kirk || ''[[Troilus and Cressida]]'' || 1.2 ||  ||
|-
| 93 || [[Henry Tresham]] || ''[[Antony and Cleopatra]]'' || 5.2 ||  ||
|-
| 94 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Henry IV, Part 1]]'' || 2.3 ||  ||
|-
| 95 || [[Thomas Stothard]] || ''[[The Two Gentlemen of Verona]]'' || 5.3 || [[Stratford, Connecticut]] ||
|-
| 96 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[The Comedy of Errors]]'' || 1.1 || [[Stratford-upon-Avon]] ||
|-
| 97 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Tempest]]'' || 2.2 || [[Folger Shakespeare Library]] ||
|-
| 98 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[King Lear]]'' || 3.4 ||  ||
|-
| 99 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Measure for Measure]]'' || 4.2 ||  ||
|-
| 100 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[The Comedy of Errors]]'' || 4.3 ||  ||
|-
| 101 || [[John Francis Rigaud]] || ''[[Romeo and Juliet]]'' || 2.4 || Agnew, 1972 ||
|-
| 102 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[Love's Labour's Lost]]'' || 4.2 ||  ||
|-
| 103 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Henry IV, Part 1]]'' || 2.1 ||  ||
|-
| 104 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Merry Wives of Windsor]]'' || 1.4 ||  ||
|-
| 105 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Henry IV, Part 2]]'' || 5.5 || [[Folger Shakespeare Library]] || [[File:Falstaff rebuked (Smirke, c. 1795).jpg|150px]]
|-
| 106 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[The Merry Wives of Windsor]]'' || 5.5 ||  ||
|-
| 107 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Henry IV, Part 2]]'' || 4.4 ||  ||
|-
| 108 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[King Lear]]'' || 1.1 ||  ||
|-
| 109 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[As You Like It]]'' || 2.7 || [[Yale Center for British Art]]; A set of seven scenes showing the ''Ages of Man''. ''The Soldier'' illustrated. || [[File:Robert Smirke - The Seven Ages of Man- The Soldier, 'As You Like It,' II, vii - Google Art Project.jpg|150px]]
|-
| 110 || [[William Hamilton (painter)|William Hamilton]] || ''[[The Winter's Tale]]'' || 4.3 ||  ||
|-
| 111 || [[William Hamilton (painter)|William Hamilton]] || ''[[The Tempest]]'' || 1.2 ||  ||
|-
| 112 || [[Richard Westall]] || [[Henry VIII (play)|''Henry VIII'']] || 1.2 ||  ||
|-
| 113 || [[Richard Westall]] || ''[[The Merchant of Venice]]'' || 3.3 || [[Folger Shakespeare Library]] || [[File:Shylock rebuffing Antonio (Westall, 1795).jpg|150px]]
|-
| 114 || [[George Romney (painter)|George Romney]] || ''[[The Tempest]]'' || 1.1 || [[Bolton Museum]], Head of Prospero only ||
|-
| 115 || [[Josiah Boydell]] || ''[[Henry IV, Part 2]]'' || 4.4 ||  ||
|-
| 116 || [[Joseph Wright of Derby]] || ''[[The Winter's Tale]]'' || 3.3 || [[Art Gallery of Ontario]] ||
|-
| 117 || [[Josiah Boydell]] || ''[[Henry IV, Part 2]]'' || 4.4 ||  ||
|-
| 118 || [[Joseph Wright of Derby]] || ''[[The Tempest]]'' || 4.1 ||  ||
|-
| 119 || [[Josiah Boydell]] || ''[[Henry VI, Part 1]]'' || 2.4 ||  ||
|-
| 120 || Thomas Kirk || ''[[Measure for Measure]]'' || 5.1 || Christie's, 11 December 1964 ||
|-
| 121 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[The Tempest]]'' || 5.1 ||  ||
|-
| 122 || [[James Barry (painter)|James Barry]] || ''[[King Lear]]'' || 5.3 || [[Tate]]  || [[File:James Barry - King Lear Weeping over the Dead Body of Cordelia - Google Art Project.jpg|150px]]
|-
| [[Titania and Bottom|123]] || [[Henry Fuseli]] || ''[[A Midsummer Night's Dream]]'' || 4.1 || [[Tate]]  || [[File:Henry Fuseli - Titania and Bottom - Google Art Project.jpg|150px]]
|-
| 124 || [[Henry Fuseli]] || ''[[A Midsummer Night's Dream]]'' || 2.1 || [[Kloster Allerheiligen, Schaffhausen#Museum zu Allerheiligen|Kloster Allerheiligen, Schaffhausen]] || [[File:Füssli Robin Goodfellow-Puck 1787-1790.jpg|150px]]
|-
| 125 || [[Joshua Reynolds]] || ''[[A Midsummer Night's Dream]]'' || 2.3 || Private collection ||
|-
| 126 || Matthew Peters || ''[[Much Ado About Nothing]]'' || 3.1 || [[Carnegie Museum of Art]] ||
|-
| 127 || [[James Northcote]] || [[Richard III (play)|''Richard III'']] || 3.1 ||  ||
|-
| 128 || Matthew Peters || ''[[The Merry Wives of Windsor]]'' || 3.3 || Christie's, 3 July 1964 ||
|-
| 129 || [[James Northcote]] || [[Richard III (play)|''Richard III'']] || 4.3 || [[Petworth House]] ||
|-
| 130 || [[Henry Fuseli]] || [[Henry V (play)|''Henry V'']] || 2.2 || [[Royal Shakespeare Company]] ||
|-
| 131 || [[Richard Westall]] || ''[[Henry IV, Part 1]]'' || 3.1 || Christie's, C.K.M. Neeld Sale, 16 November 1962, no. 91 ||
|-
| 132 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[The Taming of the Shrew]]'' || 3.2 ||  ||
|-
| 133 || [[John Opie]] || ''[[Timon of Athens]]'' || 4.3 ||  ||
|-
| 134 || [[Henry Fuseli]] || ''[[A Midsummer Night's Dream]]'' || 4.1 || [[Kunstmuseum Winterthur]] || [[File:Johann Heinrich Füssli - The Awakening of the Fairy Queen Titania, c1775-1790 - Kunstmuseum Winterthur.jpg|150px]]
|-
| 135 || [[John Francis Rigaud]] || ''[[Henry IV, Part 1]]'' || 5.4 ||  ||
|-
| 136 || [[Richard Westall]] || [[Henry VIII (play)|''Henry VIII'']] || 4.2 || [[Folger Shakespeare Library]] || [[File:Wolsey disgraced (Westall, 1795).jpg|150px]]
|-
| 137 || [[William Hodges]] || ''[[As You Like It]]'' || 2.1 || [[Yale Center for British Art]] || [[File:William Hodges - Jacques and the Wounded Stag- 'As You Like It,' Act II, Scene I - Google Art Project.jpg|150px]]
|-
| 138 || [[George Romney (painter)|George Romney]] || Infant Shakespeare ||  || [[Folger Shakespeare Library]] || [[File:The infant Shakespeare attended by Nature and the Passions (Romney, c. 1791-1792).jpg|150px]]
|-
| 139 || [[William Hodges]] || ''[[The Merchant of Venice]]'' || 5.1 ||  ||
|-
| 140 || [[James Durno]] || ''[[Henry IV, Part 2]]'' || 3.2 || Sotheby's 14 October 1953, small version. ||
|-
| 141 || [[James Durno]] || ''[[The Merry Wives of Windsor]]'' || 4.1 || [[Sir John Soane's Museum]] ||
|-
| 142 || [[Mather Brown]] || [[Richard II (play)|''Richard II'']] || 4.1 ||  ||
|-
| 143 || [[Thomas Stothard]] || ''[[Othello]]'' || 2.1 || [[Royal Shakespeare Company]] ||
|-
| 144 || William Miller || ''[[Romeo and Juliet]]'' || 1.5 ||  ||
|-
| 145 || [[Johann Heinrich Ramberg]] || ''[[Twelfth Night]]'' || 3.4 || [[Yale Center for British Art]] || [[File:Johann Heinrich Ramberg - Olivia, Maria and Malvolio from "Twelfth Night," Act III, Scene iv - Google Art Project.jpg|150px]]
|-
| 146 || [[Josiah Boydell]] || ''[[Henry VI, Part 3]]'' || 2.5 ||  ||
|-
| 147 || [[William Hamilton (painter)|William Hamilton]] || ''[[Cymbeline]]'' || 1.1 ||  ||
|-
| 148 || [[Julius Caesar Ibbetson]] || ''[[The Taming of the Shrew]]'' || 4.1 ||  [[Folger Shakespeare Library]] ||
|-
| 149 || [[Julius Caesar Ibbetson]] || ''[[The Taming of the Shrew]]'' || 4.5 ||  [[Folger Shakespeare Library]]  ||
|-
| 150 || [[Josiah Boydell]] || ''[[Othello]]'' || 5.2 ||  ||
|-
| 151 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[Much Ado About Nothing]]'' || 3.3 ||  ||
|-
| 152 || Matthew Peters || [[Henry VIII (play)|''Henry VIII'']] || 5.4 || [[Beaverbrook Art Gallery]] ||
|-
| 153 || [[John Francis Rigaud]] || ''[[The Comedy of Errors]]'' || 5.1 ||  ||
|-
| 154 || Matthew Peters || ''[[The Merry Wives of Windsor]]'' || 2.1 || Christie's, 16 March 1956, no. 110 ||
|-
| 155 || [[John Downman]] || ''[[As You Like It]]'' || 1.2 ||  ||
|-
| 156 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[All's Well That Ends Well]]'' || 5.3 ||  ||
|-
| 157 || [[Henry Fuseli]] || ''[[Macbeth]]'' || 1.3 ||  ||
|-
| 158 || [[Robert Smirke (painter)|Robert Smirke]] || ''[[Measure for Measure]]'' || 2.1 || [[Royal Shakespeare Company]] ||
|-
| 159 || [[James Northcote]] || ''[[Henry VI, Part 3]]'' || 1.3 ||  ||
|-
| 160 || Matthew Peters || [[Henry VIII (play)|''Henry VIII'']] || 3.1 ||  ||
|-
| 161 || [[Gavin Hamilton (artist)|Gavin Hamilton]] || ''[[Coriolanus]]'' || 5.3 ||  ||
|-
| 162 || [[John Opie]] || ''[[Henry VI, Part 2]]'' || 1.4 ||  ||
|-
| 163 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[Much Ado About Nothing]]'' || 5.4 ||  ||
|-
| 164 || [[Henry Tresham]] || ''[[Antony and Cleopatra]]'' || 4.4 ||  ||
|-
| 165 || [[Josiah Boydell]] || ''[[Othello]]'' || 1.3 ||  ||
|-
| 166 || [[Francis Wheatley (painter)|Francis Wheatley]] || ''[[A Midsummer Night's Dream]]'' || 4.1 ||  ||
|-
| 167 || Mr E Edwards || ''[[The Two Gentlemen of Verona]]'' || 2.1 ||  ||
|}

===Folio engravings===
<!--
 Please do not switch to {{col-1-of-2}} or similar templates.
 This places the Volume 1 and Volume 2 section in tables
 and the PDF renderer ("download PDF") will fail because the
 individual cells of the table would be too big to fit on a single
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-->
<div style="float:left; width:50%">
'''Volume I'''
* Titlepage vignette: ''[[:Image:Anne seymour damer coriolanus.JPG|Coriolanus]]'' by William Satchwell Leney after [[Anne Seymour Damer]]
* Frontispiece: ''[[:Image:George III.png|Portrait of George III]]'' by [[Benjamin Smith (engraver)|Benjamin Smith]] after [[William Beechey]]
* ''Shakespeare attended by Painting and Poetry'' by Benjamin Smith after [[Thomas Banks (sculptor)|Thomas Banks]]
* ''Infant Shakespeare'' by Benjamin Smith after [[George Romney (painter)|George Romney]]
* ''[[:File:George Romney - William Shakespeare - The Tempest Act I, Scene 1.jpg|Tempest, Act I, scene 1]]'' by Benjamin Smith after George Romney
* ''Tempest, Act I, scene 2'' by Jean-Pierre Simon after [[Henry Fuseli]]
* ''Tempest, Act IV, scene 1'' by [[Robert Thew]] after [[Joseph Wright of Derby]]
* ''Tempest, Act V, scene 1'' by [[Caroline Watson]] after [[Francis Wheatley (painter)|Francis Wheatley]]
* ''Two Gentlemen of Verona, Act V, scene 3'' by [[Luigi Schiavonetti]] after [[Angelica Kauffman]]
* ''Merry Wives of Windsor, Act I, scene 1'' by Jean-Pierre Simon after [[Robert Smirke (painter)|Robert Smirke]]
* ''Merry Wives of Windsor, Act II, scene 1'' by Robert Thew after [[William Peters (painter)|William Peters]]
* ''Merry Wives of Windsor, Act III, scene 3'' by Jean-Pierre Simon after Matthew Peters
* ''Merry Wives of Windsor, Act IV, scene 2'' by [[Thomas Ryder (engraver)|Thomas Ryder]] after [[James Durno]]<ref>{{cite web|title=Scene in 'The Merry Wives of Windsor'|url=https://artuk.org/discover/artworks/scene-in-the-merry-wives-of-windsor-123962|website=BBC Your Paintings|access-date=3 July 2014|df=dmy-all}} Durno's painting is now in [[Sir John Soane's Museum]], London.</ref>
* ''Merry Wives of Windsor, Act V, scene 5'' by [[Isaac Taylor (1759–1829)|Isaac Taylor, Jr.]] after Robert Smirke
* ''Measure for Measure, Act I, scene 1'' by Thomas Ryder after Robert Smirke
* ''Measure for Measure, Act V, scene 1'' by Jean-Pierre Simon after [[Thomas Kirk (artist)|Thomas Kirk]]
* ''Comedy of Errors, Act V, scene 1'' by Charles Gauthier Playter after [[John Francis Rigaud]]
* ''Much Ado About Nothing, Act III, scene 1'' by Jean-Pierre Simon after Matthew Peters
* ''Much Ado About Nothing, Act IV, scene 1'' by Jean-Pierre Simon after [[William Hamilton (painter)|William Hamilton]]
* ''Much Ado About Nothing, Act IV, scene 2'' by [[John Ogborne]] after Robert Smirke
* ''Love's Labour Lost, Act IV, scene 1'' by Thomas Ryder after William Hamilton
* ''Midsummer-Night's Dream, Act II, scene 1'' by Jean-Pierre Simon after Henry Fuseli
* ''[[:File:Midsummer Night's Dream Henry Fuseli2.jpg|Midsummer-Night's Dream, Act IV, scene 1]]'' by Jean-Pierre Simon, after Henry Fuseli
* ''Merchant of Venice, Act II, scene 5'' by Jean-Pierre Simon after Robert Smirke
* ''Merchant of Venice, Act V, scene 1'' by [[John Browne (artist)|John Browne]] after [[William Hodges]]
* ''As You Like It, Act I, scene 2'' by William Satchwell Leney after [[John Downman]]
* ''As You Like It, Act II, scene 1'' by [[Samuel Middiman]] after William Hodges
* ''As You Like It, Act IV, scene 3'' by William Charles Wilson after Raphael Lamar West
* ''As You Like It, Act V, scene 4'' by Jean-Pierre Simon after William Hamilton
* ''Taming of the Shrew, Introduction, scene 2'' by Robert Thew after Robert Smirke
* ''Taming of the Shrew, Act III, scene 2'' by Jean-Pierre Simon after Francis Wheatley
* ''All's Well That Ends Well, Act V, scene 3'' by Georg Siegmund and Johann Gottlieb Facius after Francis Wheatley
* ''Twelfth Night, Act III, scene 4'' by Thomas Ryder after [[Johann Heinrich Ramberg]]
* ''Twelfth Night, Act V, scene 1'' by [[Francesco Bartolozzi]] after William Hamilton
* ''[[:File:John Opie - Winter's Tale, Act II. Scene III.jpg|Winter's Tale, Act II, scene 3]]'' by Jean-Pierre Simon after [[John Opie]]
* ''Winter's Tale, Act III, scene 3'' by Samuel Middiman after Joseph Wright of Derby
* ''Winter's Tale, Act IV, scene 3'' by [[James Fittler]] after Francis Wheatley
* ''Winter's Tale, Act V, scene 3'' by Robert Thew after William Hamilton
* ''[[:Image:FuseliMacbethBoydell.jpg|Macbeth, Act I, scene 3]]'' by James Caldwell after Henry Fuseli
* ''Macbeth, Act I, scene 5'' by James Parker after [[Richard Westall]]
* ''Macbeth, Act IV, scene 1'' by Robert Thew after [[Joshua Reynolds]]
* ''As You Like It, The Seven Ages, Act II, scene 7'' by Petro William Tomkins after Robert Smirke
* ''As You Like It, The Seven Ages, Second Age, Act II, scene 7'' by John Ogborne after Robert Smirke
* ''As You Like It, The Seven Ages, Third Age, Act II, scene 7'' by Robert Thew after Robert Smirke
* ''As You Like It, The Seven Ages, Fourth Age, Act II, scene 7'' by John Ogborne after Robert Smirke
* ''As You Like It, The Seven Ages, Fifth Age, Act II, scene 7'' by Jean-Pierre Simon after Robert Smirke
* ''As You Like It, The Seven Ages, Sixth Age, Act II, scene 7'' by William Satchwell Leney after Robert Smirke
* ''As You Like It, The Seven Ages, Seventh Age, Act II, scene 7'' by Jean-Pierre Simon after Robert Smirke
</div>
<div style="float:left; width:50%">
'''Volume II'''
* ''Antony and Cleopatra'' Terracotta bas relief title page vignette by Thomas Hellyer after Anne S. Damer
* ''Portrait of Queen Charlotte'' by Thomas Ryder and Thomas Ryder, Jr. after William Beechey
* ''King John, Act IV, scene 1'' by Robert Thew after [[James Northcote (painter)|James Northcote]]
* ''King Richard II, Act IV, scene 1'' by Benjamin Smith after Mather Browne
* ''King Richard II, Act V, scene 2'' by Robert Thew after James Northcote
* ''Henry IV, part 1, Act II, scene 2'' by Samuel Middiman Robert Smirke and [[Joseph Farington]]
* ''Henry IV, part 1, Act II, scene 4'' by Robert Thew after Robert Smirke
* ''Henry IV, part 1, Act III, scene 1'' by Jean-Pierre Simon after Richard Westall
* ''Henry IV, part 1, Act V, scene 4'' by Thomas Ryder after John Francis Rigaud
* ''Henry IV, part 2, Act II, scene 4'' by William Satchwell Leney after Henry Fuseli
* ''Henry IV, part 2, Act III, scene 2'' by Thomas Ryder after James Durno
* ''Henry IV, part 2, Act IV, scene 4'' by Robert Thew after Josiah Boydell – ''Prince Henry Taking the Crown''
* ''Henry IV, part 2, Act IV, scene 4'' by Robert Thew after Josiah Boydell – ''Prince Henry's Apology''
* ''Henry V, Act II, scene 2'' by Robert Thew after Henry Fuseli
* ''Henry VI, part 1, Act II, scene 3'' by Robert Thew after John Opie
* ''Henry VI, part 1, Act II, scene 4'' by John Ogborne after Josiah Boydell
* ''Henry VI, part 1, Act II, scene 5'' by Robert Thew after James Northcote
* ''Henry VI, part 2, Act I, scene 4'' by Charles Gauthier Playter and Robert Thew after John Opie
* ''Henry VI, part 2, Act III, scene 3'' by Caroline Watson after Joshua Reynolds
* ''Henry VI, part 3, Act I, scene 3'' by Charles Gauthier Playter and Thomas Ryder after James Northcote
* ''Henry VI, part 3, Act II, scene 5'' by John Ogborne after Josiah Boydell
* ''Henry VI, part 3, Act IV, scene 5'' by Jean Baptiste Michel and William Satchwell Leney after William Miller
* ''Henry VI, part 3, Act V, scene 7'' by Jean Baptiste Michel after James Northcote
* ''Richard III, Act III, scene 1'' by Robert Thew after James Northcote
* ''Richard III, Act IV, scene 3'' by [[Francis Legat]] after James Northcote – ''The Young Princes Murdered in the Tower''
* ''Richard III, Act IV, scene 3'' by William Skelton after James Northcote – ''Burying of the Royal Children''
* ''Henry VIII, Act I, scene 4'' by [[Isaac Taylor (1759–1829)|Isaac Taylor, Jr.]] after [[Thomas Stothard]]
* ''Henry VIII, Act III, scene 1'' by Robert Thew after Matthew Peters
* ''Henry VIII, Act IV, scene 2'' by Robert Thew after Richard Westall
* ''Henry VIII, Act V, scene 4'' by [[Joseph Collyer]] after Matthew Peters
* ''[[:File:Gavin Hamilton - Coriolanus Act V, Scene III edit2.jpg|Coriolanus, Act V, scene 3]]'' by James Caldwell after [[Gavin Hamilton (artist)|Gavin Hamilton]]
* ''Julius Cæsar, Act IV, scene 3'' by [[Edward Scriven]] after Richard Westall
* ''Antony and Cleopatra, Act III, scene 9'' by Georg Siegmund and Johann Gottlieb Facius after [[Henry Tresham]]
* ''Timon of Athens, Act IV, scene 3'' by Robert Thew after John Opie
* ''Titus Andronicus, Act IV, scene 1'' painted and engraved by Thomas Kirk
* ''Troilus and Cressida, Act II, scene 2'' by Francis Legat after George Romney
* ''[[:Image:A Scene from Troilus and Cressida - Angelica Kauffmann.jpg|Troilus and Cressida, Act V, scene 2]]'' by Luigi Schiavonetti after Angelica Kauffman
* ''Cymbeline, Act I, scene 2'' by [[Thomas Burke (artist)|Thomas Burke]] after William Hamilton
* ''Cymbeline, Act III, scene 4'' by Robert Thew after [[John Hoppner]]
* ''King Lear, Act I, scene 1'' by [[Richard Earlom]] after Henry Fuseli
* ''[[:Image:Benjamin West King Lear Act III scene 4.jpg|King Lear in the Storm]]'' from ''King Lear'', Act III, scene 4 by [[William Sharp (engraver)|William Sharp]] after [[Benjamin West]]
* ''[[:Image:James Barry 002.jpg|King Lear, Act V, scene 3]]'' by Francis Legat after [[James Barry (painter)|James Barry]]
* ''Romeo and Juliet, Act I, scene 5'' by Georg Siegmund and Johann Gottlieb Facius after William Miller
* ''Romeo and Juliet, Act IV, scene 5'' by Georg Siegmund and Johann Gottlieb Facius after John Opie
* ''Romeo and Juliet, Act V, scene 3'' by Jean-Pierre Simon after James Northcote
* ''[[:Image:Henry Fuseli - Hamlet and the Ghost.JPG|Hamlet, Act I, scene 4]]'' by Robert Thew after Henry Fuseli
* ''Hamlet, Act IV, scene 5'' by Francis Legat after Benjamin West
* ''Othello, Act II, scene 1'' by Thomas Ryder after Thomas Stothard
* ''[[:Image:John Graham A bedchamber Desdemona in Bed asleep - Othello Act V scene 2.jpg|A Bedchamber, Desdemona in Bed Asleep]]'' from ''Othello'', Act V, scene 2, by William Satchwell Leney after [[John Graham (Scottish painter)|John Graham]]
* ''Cymbeline. Act III, scene 6'' by [[Thomas Gaugain]] after Richard Westall
* ''[[:Image:Romney-ShakespeareNaturePassions.jpg|Shakespeare Nursed by Tragedy and Comedy]]'' by Benjamin Smith after George Romney
* ''[[:Image:Josiah Boydell Desdemona in bed asleep - Othello Act V scene 2.jpg|Desdemona in Bed Asleep]]'' from ''Othello'', Act V, scene 2, by William Satchwell Leney after Josiah Boydell
</div>
{{Clear}}

===Illustrated edition===
<!--
 Please do not switch to {{col-1-of-2}} or similar templates.
 This places the Volume 1 and Volume 2 section in tables
 and the PDF renderer ("download PDF") will fail because the
 individual cells of the table would be too big to fit on a single
 page.
-->
<div style="float:left; width:33%">
'''Volume I'''
<br />
''[[The Tempest]]''
* ''[[:Image:William Hamilton Prospero and Ariel.jpg|Act I, scene 2]]'' by James Parker after William Hamilton
* ''Act II, scene 2'' by William Charles Wilson after Robert Smirke
* ''Ferdinand and Miranda (Act III, scene 1)'' by [[Anker Smith]] after William Hamilton
<br />
''[[Two Gentlemen of Verona]]''
* ''Act V, scene 3'' by [[John Ogborne]] after Thomas Stothard
<br />
''[[Merry Wives of Windsor]]''
* ''Mrs. Page with a Letter (Act II, scene 1)'' by Joseph Saunders after Matthew Peters
* ''Act I, scene 1'' by Moses Haughton after Robert Smirke
* ''Act I, scene 4'' by Anker Smith after Robert Smirke
* ''Act IV, scene 1'' by [[Thomas Holloway (painter)|Thomas Holloway]] after Robert Smirke
* ''Act V, scene 5'' by [[William Sharp (engraver)|William Sharpe]] after Robert Smirke
<br />
''[[Measure for Measure]]''
* ''Act II, scene 4'' by William Charles Wilson after Robert Smirke
* ''Act IV, scene 3'' by William Charles Wilson after Robert Smirke
<br />
'''Volume II'''
<br />
''[[The Comedy of Errors]]''
* ''Act I, scene 1'' by [[James Neagle]] after Francis Wheatley
* ''Act IV, scene 4'' by [[James Stow]] after Francis Wheatley
<br />
''[[Much Ado About Nothing]]''
* ''Hero, Ursula, and [[Beatrice (Much Ado About Nothing)|Beatrice]] (Act III, scene 1)'' by [[James Heath (engraver)|James Heath]] after Matthew Peters
* ''Borachio, Conrade and Watchmen (Act III, scene 3)'' by [[George Noble (engraver)|George Noble]] after Francis Wheatley
* ''Act IV, scene 1'' by [[Thomas Milton]] and Testaloni after William Hamilton
* ''Examination (Act IV, scene 2)'' by James Heath after Robert Smirke
* ''Act V, scene 4'' by [[James Fittler]] after Francis Wheatley
<br />
''[[Love's Labour's Lost]]''
* ''Act IV, scene 2'' by James Neagle after Francis Wheatley
* ''Act V, scene 2'' by [[William Skelton]] after Francis Wheatley
<br />
''[[A Midsummer Night's Dream]]''
* ''Puck (Act II, scene 1)'' by James Parker after Henry Fuseli
* ''Puck (Act II, scene 2)'' by [[Luigi Schiavonetti]] after Joshua Reynolds
<br />
'''Volume III'''
<br />
''[[Merchant of Venice]]''
* ''Act III, scene 2'' by George Noble after Richard Westall
* ''Act III, scene 3'' by James Parker after Richard Westall
<br />
''[[As You Like It]]''
* ''Jacques and the Wounded Stag (Act II, scene 1)'' by Samuel Middiman after William Hodges
* ''[[The Seven Ages of Man (painting series)|Act II, scene 6]]'' by George Noble after Robert Smirke
* Act IV, scene 3'' by William Charles Wilson after Robert Smirke
* ''Act V, scene 4'' by Luigi Schiavonetti after William Hamilton
<br />
''[[The Taming of the Shrew]]''
* ''Act IV, scene 1'' by Anker Smith after [[Julius Caesar Ibbetson]]
* ''Act IV, scene 5'' by [[Isaac Taylor (1759–1829)|Isaac Taylor, Jr.]] after Julius Caesar Ibbetson
<br />
''[[All's Well That Ends Well]]''
* ''Act I, scene 3'' by Francis Legat after Francis Wheatley
* ''Act II, scene 3'' by Luigi Schiavonetti after Francis Wheatley
</div>
<div style="float:left; width:33%">
'''Volume IV'''
<br />
''[[Twelfth-Night]]''
* ''Olivia, Viola and Maria (Act I, scene 5)'' by James Caldwell after William Hamilton
* ''Sir Toby, Sir Andrew and Maria (Act II, scene 3)'' by James Fittler after William Hamilton
* ''Act IV, scene 3'' by [[William Angus (engraver)|William Angus]] after William Hamilton
<br />
''[[The Winter's Tale]]''
* ''Leontes and Hermione (Act II, scene 1)'' by James Fittler after William Hamilton
* ''Paulina, Child, Leontes, and Antigonus (Act II, scene 3)'' by [[Francesco Bartolozzi]] after William Hamilton
* ''The Shepherd's Cot (Act IV, scene 3)'' by Joseph Collyer after William Hamilton
<br />
''[[Macbeth]]''
* ''Act I, scene 3'' by James Stow after Richard Westall
* ''Act III, scene 4'' by James Parker after Richard Westall
* ''Act V, scene 1'' by William Charles Wilson after Richard Westall
<br />
''[[The Life and Death of King John|King John]]''
* ''Act IV, scene 3'' by Isaac Taylor after Robert Ker Porter
* ''Act III, scene 4'' by Anker Smith after Richard Westall
<br />
'''Volume V'''
<br />
''[[Richard II (play)|King Richard II]]''
* ''Act III, scene 2'' by James Parker after William Hamilton
* ''Act V, scene 2'' by James Stow after William Hamilton
<br />
''[[Henry IV, Part 1|First Part of King Henry IV]]''
* ''Act II, scene 1'' by James Fittler after Robert Smirke
* ''Act II, scene 3'' by James Neagle after Robert Smirke
* ''Act V, scene 4'' by James Neagle after Robert Smirke
<br />
''[[Henry IV, Part 2|Second Part of King Henry IV]]''
* ''Act IV, scene 4'' by William Charles Wilson after Robert Smirke
* ''Act V, scene 5'' by Joseph Collyer after Robert Smirke
<br />
''[[Henry V (play)|King Henry V]]''
* ''Act III, scene 3'' by James Stow after Richard Westall
<br />
'''Volume VI'''
<br />
''[[Henry VI, Part 1|First Part of King Henry VI]]''
* ''Act II, scene 4'' by John Ogborne after Josiah Boydell
* ''Act II, scene 5'' by Isaac Taylor after William Hamilton
* ''Death of Mortimer (Act II, scene 5)'' by Andrew Gray after James Northcote
* ''Joan of Arc and the Furies (Act V, scene 4)'' by Anker Smith after William Hamilton
<br />
''[[Henry VI, Part 2|Second Part of King Henry VI]]''
* ''Act II, scene 2'' by Anker Smith after William Hamilton
* ''Act III, scene 2'' by Isaac Taylor after William Hamilton
* ''Death of Cardinal Beaufort (Act III, scene 3)'' by Andrew Gray after Joshua Reynolds
<br />
''[[Henry VI, Part 3|Third Part of King Henry VI]]''
* ''Act III, scene 2'' by Thomas Holloway after William Hamilton
* ''Act V, scene 5'' by Thomas Holloway after William Hamilton
<br />
''[[Richard III (play)|Richard III]]''
* ''[[:Image:Northcote-Princes-Act3.jpg|Meeting of the Young Princes (Act III, scene 1)]]'' by J. Barlow after James Northcote
* ''Act III, scene 4'' by Anker Smith after Richard Westall
* ''[[:Image:Northcote-MurderPrinces.jpg|The Young Princes Murdered in the Tower (Act IV, scene 3)]]'' by James Heath after James Northcote
</div>
<div style="float:left; width:33%">
'''Volume VII'''
<br />
''[[Henry VIII (play)|King Henry VIII]]''
* ''[[:Image:Stothard-HenryAnne.jpg|Act I, scene 4]]'' by Isaac Taylor after Thomas Stothard
* ''[[:Image:Westall-WolseyResigns.jpg|Wolsey Disgraced (Act III, scene 2)]]'' by William Charles Wilson after Richard Westall
* ''[[:Image:Westall-Katherine.jpg|Act IV, scene 2]]'' by James Parker after Richard Westall
* ''Act V, scene 1'' by William Satchwell Leney after Richard Westall
<br />
''[[Coriolanus (play)|Coriolanus]]''
* ''[[:Image:Porter-CoriolanusAct1.jpg|Act I, scene 3]]'' by James Stow after Robert Ker Porter
* ''[[:Image:Porter-CoriolanusAct4.jpg|Act IV, scene 5]]'' by James Parker after Robert Ker Porter
<br />
''[[Julius Caesar (play)|Julius Cæsar]]''
* ''Act III, scene 1'' by James Parker after Richard Westall
* ''[[:Image:Brutus and the Ghost of Caesar 1802.jpg|Act V, scene 5]]'' by George Noble after Richard Westall
<br />
''[[Antony and Cleopatra]]''
* ''[[:Image:Tresham-AntonyCleopatra.jpg|Act IV, scene 4]]'' by Charles Turner Warren and George Noble after Henry Tresham
* ''[[:Image:Tresham-DeathCleopatra.jpg|Death of Cleopatra (Act V, scene 2)]]'' by George Noble after Henry Tresham
<br />
'''Volume VIII'''
<br />
''[[Timon of Athens]]''
* ''[[:Image:Howard-TimonAct1.jpg|Act I, scene 2]]'' by Richard Rhodes after [[Henry Howard (painter)|Henry Howard]]
* ''[[:Image:Howard-TimonAct4.jpg|Act IV, scene 1]]'' by Isaac Taylor after Henry Howard
<br />
''[[Titus Andronicus]]''
* ''[[:Image:Woodforde-TitusAct2.jpg|Act II, scene 3]]'' by Anker Smith after [[Samuel Woodforde]]
* ''[[:Image:Kirk-TitusAct4ChildAlarmed.jpg|Act IV, scene 1]]'' by [[Burnet Reading]] after Thomas Kirk
* ''[[:Image:Kirk-TitusAct4ProtectSon.jpg|Act IV, scene 2]]'' by Jacob Hogg after Thomas Kirk
<br />
''[[Troilus and Cressida]]''
* ''[[:Image:Kirk-TroilusCressidaAct1.jpg|Act I, scene 2]]'' by Charles Turner Warren after Thomas Kirk
* ''[[:Image:Kirk-TroilusCressidaAct5.jpg|Act V, scene 3]]'' by James Fittler after Thomas Kirk
<br />
''[[Cymbeline]]''
* ''[[:Image:Westall-ImogenInBed.jpg|Act II, scene 2]]'' by James Stow after Richard Westall
* ''[[:Image:Westall-IachimoWager.jpg|Act II, scene 4]]'' by William Charles Wilson after Richard Westall
* ''[[:Image:Imogen in Boy's Clothes - Richard Westall.jpg|Act III, scene 6]]'' by James Parker after Richard Westall
<br />
'''Volume IX'''
<br />
''[[King Lear]]''
* ''Act I, scene 1'' by William Sharpe after Robert Smirke
* ''Act III, scene 4'' by Luigi Schiavonetti after Robert Smirke
* ''Act IV, scene 7'' by Anker Smith after Robert Smirke
<br />
''[[Romeo and Juliet]]''
* ''[[:Image:Miller-RomeoJulietAct1.jpg|Act I, scene 5]]'' by Anker Smith after William Miller
* ''[[:Image:Smirke-JulietNurse.jpg|Act II, scene 5]]'' by James Parker after Robert Smirke
* ''[[:Image:Rigaud-RomeoJuliet.jpg|Act III, scene 5]]'' by James Stow after John Francis Rigaud
* ''[[:Image:Opie-JulietsDeath.jpg|Capulet Finds Juliet Dead (Act IV, scene 5)]]'' by Jean Pierre Simon and [[William Blake]] after John Opie
* ''Act V, scene 3'' by James Heath after James Northcote
<br />
''[[Hamlet]]''
* ''Act III, scene 4'' by William Charles Wilson after Richard Westall
* ''[[:Image:Westall-Ophelia.jpg|Act IV, scene 7]]'' by James Parker after Richard Westall
<br />
''[[Othello]]''
* ''Act IV, scene 2'' by Andrew Michel after Robert Ker Porter
* ''[[:Image:Othello2 josiahbaydell.jpg|Desdemona Asleep (Act V, scene 2)]]'' by Andrew Michel after Josiah Boydell
''[[As You Like It]]''
* ''Act II, scene 7'' by Robert Thew (no. 99), Peltro William Tomkins (no. 97), Jean Pierre Simon (no. 101, 103), John Ogborne (no. 98, 100), and William Satchwell Leney (no. 102) after Robert Smirke
</div>
{{Clear}}

==Notes==
{{reflist|25em}}

==References==
{{refbegin|30em}}
<!--This bibliography follows MLA style-->
* —. ''Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain''. London: John and Josiah Boydell, 1805.
* —. ''The Shakespeare Gallery: A Reproduction Commemorative of the Tercentenary Anniversary, MDCCCLXIV''. London: George Routledge and Sons, 1867.
* [[Richard Altick|Altick, Richard D.]] ''Paintings from Books: Art and Literature in Britain, 1760–1900''. Columbus: Ohio State University Press, 1985. {{ISBN|0-8142-0380-9}}.
* Boase, T.S.R. "Illustrations of Shakespeare's Plays in the Seventeenth and Eighteenth Centuries". ''Journal of the Warburg and Courtauld Institutes'' 10 (1947):  83–108.
* Bruntjen, Sven Hermann Arnold. ''John Boydell (1719–1804): A Study of Art Patronage and Publishing in Georgian London''. New York: Garland Publishing, 1985. {{ISBN|0-8240-6880-7}}.
* Burwick, Frederick. "[http://www.shakespeare-gesellschaft.de/en/publications/boydell-catalogue/frederick-burwick.html Introduction: The Boydell Shakespeare Gallery] {{Webarchive|url=https://web.archive.org/web/20150527081600/http://www.shakespeare-gesellschaft.de/en/publications/boydell-catalogue/frederick-burwick.html |date=27 May 2015 }}". ''The Boydell Shakespeare Gallery''. Eds. Walter Pape and Frederick Burwick.  Bottrop, Essen: Verlag Peter Pomp, 1996. {{ISBN|3-89355-134-4}}. Retrieved on 11 January 2008.
* Burwick, Frederick. "The Romantic Reception of the Boydell Shakespeare Gallery: Lamb, Coleridge, Hazlitt".  ''The Boydell Shakespeare Gallery''. Eds. Walter Pape and Frederick Burwick.  Bottrop, Essen: Verlag Peter Pomp, 1996. {{ISBN|3-89355-134-4}}.
* Dobson, Michael. ''The Making of the National Poet: Shakespeare, Adaptation, and Authorship, 1660–1769''. Oxford: Clarendon Press, 1992. {{ISBN|0-19-811233-5}}.
* Egerton, Judy. National Gallery Catalogues (new series): ''The British School'', 1998, {{ISBN|1-85709-170-1}}
* Franklin, Colin. ''Shakespeare Domesticated: The Eighteenth-century Editions''.  Hants, England:  Scolar Press, 1991. {{ISBN|0-85967-834-2}}.
* Friedman, Winifred H. ''Boydell's Shakespeare Gallery''. New York:  Garland Publishing Inc., 1976. {{ISBN|0-8240-1987-3}}.
* Gage, John. "Boydell's Shakespeare and the Redemption of British Engraving".  ''The Boydell Shakespeare Gallery''. Eds. Walter Pape and Frederick Burwick.  Bottrop, Essen: Verlag Peter Pomp, 1996. {{ISBN|3-89355-134-4}}.
* Hammerschmidt-Hummel, Hildegard. "Boydell's Shakespeare Gallery and Its Role in Promoting English History Painting".  ''The Boydell Shakespeare Gallery''. Eds. Walter Pape and Frederick Burwick.  Bottrop, Essen: Verlag Peter Pomp, 1996. {{ISBN|3-89355-134-4}}.
* Hartmann, Sadakichi. [https://books.google.com/books?id=Vm8jqW88EIwC ''Shakespeare in Art'']. Art Lovers' Series. Boston: L. C. Page & Co., 1901.
* Lennox-Boyd, Christopher. "The Prints Themselves: Production, Marketing, and their Survival".  ''The Boydell Shakespeare Gallery''. Eds. Walter Pape and Frederick Burwick.  Bottrop, Essen: Verlag Peter Pomp, 1996. {{ISBN|3-89355-134-4}}.
* McCalman, Iain. ''An Oxford Companion to the Romantic Age: British Culture, 1776–1832''. Oxford: Oxford University Press, 1999. {{ISBN|0-19-924543-6}}.
* Merchant, W. Moelwyn.  ''Shakespeare and the Artist''.  London:  Oxford University Press, 1959.
* Salaman, Malcolm C. [http://search.live.com/results.aspx?q=%22Boydell%20Shakespeare%20Gallery%22&mkt=en-US&scope=books&FORM=BBRE#q=%22Shakespeare%20in%20Pictorial%20Art%22&filter=all&page=1&t=SJ96evQ-xRDm33pVERaUwg&sq=%22Shakespeare%20in%20Pictorial%20Art%22 ''Shakespeare in Pictorial Art'']. Ed. Charles Holme. 1916. New York: Benjamin Blom, Inc., 1971.
* Santaniello, A. E. "Introduction". ''The Boydell Shakespeare Prints''. New York: Benjamin Bloom, 1968.
* [[William Shakespeare|Shakespeare, William]], ''The Dramatic Works of Shakespeare''. Ed. [[George Steevens]]. London: Shakespeare Printing Office, for [[John Boydell|John]] and [[Josiah Boydell]] and [[George Nicol (bookseller)|George W. Nicol]], 1802.
* Sheppard, F.H.W. ''[[Survey of London]]: [http://www.british-history.ac.uk/source.aspx?pubid=292 Volumes 29 and 30: St James Westminster, Part 1]''. London: Athlone Press for London County Council, 1960. Retrieved on 2 February 2008.
* Sherbo, Arthur. ''The Achievement of George Steevens''. New York: Peter Lang, 1990.
* [[Gary Taylor (English literature scholar)|Taylor, Gary]].  ''Reinventing Shakespeare: A Cultural History, from the Restoration to the Present''.  New York: Weidenfeld & Nicolson, 1989. {{ISBN|1-55584-078-7}}.
* Wenner, Evelyn Wingate. ''George Steevens and the Boydell Shakespeare''.  Diss. George Washington University, 1951.
* West, Shearer. "John Boydell". ''[[Grove Dictionary of Art]].'' Ed. Jane Turner. London; New York: Grove/Macmillan, 1996. {{ISBN|1-884446-00-0}}. Retrieved on 26 November 2007.
{{refend}}

==External links==
{{Commons}}
* [https://web.archive.org/web/20071203133017/http://www.lib.utc.edu/manuscripts/mss086/Shakespeare.html Shakespeare illustration exhibition] at the Special Collections of Lupton Library
* [https://web.archive.org/web/20100611183330/http://shakespeare.emory.edu/illustrated_index.cfm Shakespeare Illustrated] by Harry Rusche at [[Emory University]]
* [http://www.library.georgetown.edu/exhibition/histories-and-tragedies-boydell-shakespeare-folio Engravings from the Boydell Shakespeare Gallery] at [[Georgetown University]] Art Collection
* [http://www.whatjanesaw.org/ What Jane Saw in 1796: A virtual recreation of The Shakespeare Gallery at 52 Pall Mall], as visited by Jane Austen in 1796. [[University of Texas]] College of Liberal Arts.

{{William Shakespeare|state=collapsed}}
{{ACArt}}
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