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111 - Likenesses: Prints and Paintings

from Part XII - The Historical William Shakespeare

Published online by Cambridge University Press:  17 August 2019

By
Erin C. Blake
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

Betterton, Thomascarbon datingChandos portraitCobbe portraitDorchesterDroeshout, MartinengravingFaithorne, WilliamJanssen portraitKeck, RobertMarshall, WilliamOverbury, ThomaspaintingportraitsSanders portraitTaylor, JohnVertue, GeorgeWriothesley, Henry, Third Earl of Southampton
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 856 - 861
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Bearman, Robert. Review of Shakespeare Found! Ed. Wells, Stanley. Shakespeare Quarterly 60.4 (2009): 483–87; 62.2 (2011): 281–84.CrossRefGoogle Scholar
Blayney, Peter W. M. The First Folio of Shakespeare. Washington: Folger Library, 1991.Google Scholar
Cooper, Tarnya. Searching for Shakespeare. London: National Portrait Gallery, 2006.Google Scholar
Corbeil, Marie-Claude, et al. “Scientific Examination of the Sanders Portrait of William Shakespeare.” Canadian Conservation Institute, 15 August 2000. Canadian Adaptations of Shakespeare Project, U of Guelph, 2011. http://www.canadianshakespeares.ca/multimedia/pdf/sanders_portrait_examination.pdf.Google Scholar
Edmond, Mary. “The Chandos Portrait: A Suggested Painter.” Burlington Magazine 124.948 (1992): 146–49.Google Scholar
Edmond, Mary. “It Was for Gentle Shakespeare Cut.” Shakespeare Quarterly 42.3 (1991): 339–44.CrossRefGoogle Scholar
Fischlin, Daniel, Hinks, Pamela J., and Sullivan, Lloyd. “Sanders Portrait of Shakespeare: Provenance and Genealogy.” Canadian Adaptations of Shakespeare Project. U of Guelph, 2011. http://news.canadianshakespeares.ca/2011/02/27/sanders-portrait-of-shakespeare-provenance-an/Google Scholar
Friswell, J. Hain. Life Portraits of William Shakspeare. London: Sampson Low, Son, and Marston, 1864.Google Scholar
Pressly, William L. A Catalogue of Paintings in the Folger Shakespeare Library. New Haven: Yale UP, 1993.Google Scholar
Roberts, David. “‘I Think No Ill One’: A Letter from Thomas Betterton Sheds New Light on the Chandos Portrait.” Times Literary Supplement 14 August 2009: 14–15.Google Scholar
Schlueter, June. “Martin Droeshout Redivivus: Reassessing the Folio Engraving of Shakespeare.” Shakespeare Survey 60 (2007): 237–51. Cambridge Collections Online. Cambridge University Press. DOI:10.1017/CCOL052187839X.018. Accessed 17 April 2011.Google Scholar
Schuckman, Christiaan. “The Engraver of the First Folio Portrait of William Shakespeare.” Print Quarterly 8.1 (1991): 40–43.Google Scholar
Spielmann, M. H. “The ‘Grafton’ and ‘Sanders’ Portraits of Shakespeare.” The Connoisseur 23.90 (1909): 97–102.Google Scholar
Sullivan, Lloyd. “The Sanders Portrait: This Is the Face of the Bard.” Shakespeare Made in Canada: Contemporary Canadian Adaptations in Theatre, Pop Media and Visual Arts. Ed. Fischlin, Daniel and Nasby, Judith. Guelph: Macdonald Stewart Art Centre, 2007. 25–42.Google Scholar
Vertue, George. Notebook. 1719. Add. MS 21, 111. London: British Library. Manuscript.Google Scholar
Wells, Stanley, ed. Shakespeare Found! Rev. ed. Stratford- upon-Avon: The Cobbe Foundation and the Shakespeare Birthplace Trust, 2011.Google Scholar

Further reading

Griffiths, Antony. The Print in Stuart Britain, 1603–1689. London: British Museum Press, 1998.Google Scholar
Holderness, Graham, and Loughrey, Bryan. “Shakespearean Features.” The Appropriation of Shakespeare: Post-Renaissance Reconstructions of the Works and the Myth. Ed. Marsden, Jean I.. New York: Harvester Wheatsheaf, 1991. 183–201.Google Scholar
Jones, Malcolm. The Print in Early Modern England. New Haven: Yale UP, 2010.Google Scholar
Matheson, Tom. “Droeshout’s Shakespeare: From Image to Icon.” Metamorphosing Shakespeare: Mutual Illumination of the Arts. Ed. Kennan, Patricia and Tempera, Mariangela. Bologna: CLUEB, 2004. 45–57.Google Scholar
Nolen, Stephanie. Shakespeare’s Face. Toronto: Knopf, 2002.Google Scholar

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