THE PROPERTY of MRS. ROBIN Eraven Theatrical
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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
Diprose's Theatrical Anecdotes
^ :> Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/diprosestheatricOOdipruoft ^DIP ROSE'S theatrical anecdotes' CONTAINING ANECDOTES OF THE SCENES-OLD iIIE STAGE AND THE PLAYERS-BEHIND PLACES OF AMUSEMENT-THEATRICAL JOTTINGS- == MUSIC-AUTHORS-EPITAPHS, &c., &c. London : DIPROSE & BATEMAN, Sheffield Street, Lincoln's Inn Fields. : LONDON DIPROSE, BATEMAN AND CO., PRINTEUS, SHEFFIELD STREET, LINCOLN'S INN, THE STAGE I AND THE PLAYERS BY JOHN DIPROSE. ^ THE ORIGIN OF THE STAGE. -:o:- HE first religious spectacle was, probably, the miracle play of St Catherine^ mentioned by Matthew Paris as having been written by Geoffrey, a Norman, afterwards Abbot of St. Albans, and played at Dunstable Abbey in mo. In the Description of the Most Noble City of London^ by Fitz Stephen, a monk, about 1174, in treating of the ordinary diversions of the inhabitants of the metropolis, says, that, instead of the common interludes belonging to theatres, they have plays of a more holy subject. The ancient religious dramas were distinguished by the names Origin of the Stage. of mysteries, properly so called, wherein were exhibited some of the events of Scripture story, and miracles which were of the nature of tragedy, representing the acts of Martyrdom of a Saint of the Church. One of the oldest religious dramas was written by Gregory, entitled Christ's Passion, the prologue to which states that the Virgin Mary was then for the first time brought upon the stage. In 1264, the Fraternite del Goufal'one Avas established, part of whose occupation was to represent the sufferings of Christ in Passion Week. -
Prints Collection
Prints Collection: An Inventory of the Collection at the Harry Ransom Humanities Research Center Descriptive Summary Creator: Prints Collection Title: Prints Collection Dates: 1669-1906 (bulk 1775-1825) Extent: 54 document boxes, 7 oversize boxes (33.38 linear feet) Abstract: The collection consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. RLIN Record #: TXRC02-A1 Language: English. Access Open for research Administrative Information Provenance The Prints Collection was assembled by Theater Arts staff, primarily from the Messmore Kendall Collection which was acquired in 1958. Other sources were the Robert Downing and Albert Davis collections. Processed by Helen Baer and Antonio Alfau, 2000 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Prints Collection Scope and Contents The Prints Collection, 1669-1906 (bulk 1775-1825), consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. The collection is organized in three series: I. Individuals, 1669-1906 (58.25 boxes), II. Theatrical Prints, 1720-1891 (1.75 boxes), and III. Works of Art and Miscellany, 1827-82 (1 box), each arranged alphabetically by name or subject. The prints found in this collection were made by numerous processes and include lithographs, woodcuts, etchings, mezzotints, process prints, and line blocks; a small number of prints are hand-tinted. A number of the prints were cut out from books and periodicals such as The Illustrated London News, The Universal Magazine, La belle assemblée, Bell's British Theatre, and The Theatrical Inquisitor; others comprised sets of plates of dramatic figures such as those published by John Tallis and George Gebbie, or by the toy theater publishers Orlando Hodgson and William West. -
The Pre-Victorian Drama
T H E P RE - VI CTO RIAN D RAMA B L I N I N D U . E V . H E S M . LL . D . R s c H U G , A , D U B LI N F I S O T H O D G E S , I G G , C L D . , B LI S HE R S T O T H E N S T P U U IVER I Y. 1 0 0 4 . (i b i s l it t l e JB o o h I S R E S P E C TFU L L Y D E D I C A T E D T O A N T H N T RA I E . L . D . M . D . M . H . O Y LL, SQ , L , , O rovost of t ini G lle e D ublin p r ty o g , , A N D RI G HT H N DDE N LL . D . O . D D N H MA O GSO . , ”ices c b ancell o r o f the u niversity; I n m e m o r y o f fo u r h a p p y y e a r s o f r e s id e n c e I n 17 T r l n lt y C o l le g e . 20 5774 6 ERRA TA . a d Fo r Hoadley (pp . 1 0 a n d 66) r ea d Ho ly T h e ar a r a h T h e e n de H usb an d & c . -
Highly Important Library of the Late George Daniel, Esq
-. CATALOGUE OF ‘rm MOST VALUABLE,INTERESTING AND c HIGHLY IMPORTANT LIBRARY OF THE LATE GEORGE DANIEL, ESQ. OF CANONBURY, TOOETIIEB WITH HIS COLLECTION OF ORIGINAL DRAWINGS AKD ENGRAVED PORTRAITS OF OF TEE FIRST QUALITY, BY BABRETT, CATTERMOLE, COOPER, COS, DEWINT, HARDING, PROUT, PYNE, STANFIELD, STOTHARD, WILKIE, AND OTHER EMINENT ARTISTS. NISCELLANEOU8 OBJECTS OF ART, INTEREST & CURIOSITY, BEAUTIFUL ASD OTHER FINE EXAMPLES OF ART AND VERTU. WHICH WILL BE SOLD BY AUCTION, BY XESSBS. SOTHEBY, W1,LKINSON & HODGE, auctioneers of Eiterarg wroprrte t titRorks iIIoalratibe of @e fine arts, -4T THEIRHOUSE. NO. 13, (late 3), WELLINGTON STREET, STRAND, W.C. On WEDNESDAY, the 20th of JULY, 1864, and Niue following Dags, AT ONE O’CLOCK PRECIRRTaY. -- May be Viewed Two Days previous, and Cataloguee had. I. Thehighest bidder to be tho buyer,and if disputo mk? bd-ffeen bidders, the lot 80 dis uted sball be immediately put up again, Provided the seller cannotdeci Be the said dispute. 11. No person to advance less than GJ. ; above ten shilliop, 18. ; above five pounds, 2r.6d. ; and so on. 111. The purchaaera to give in their names and plnces of abode, adto pay down 108. in the pound, if required, in part payment of the puxhaee- money ; in default of which the lot or lots purchased to be immediately put up again and re-sold. IT. The lots to be taken away at the buyer’s ex nse, immediately after the conclusion of the sale ; in default ofwhich essrs. SOTIIEBS,WJLKISSOX & HODQEwill not hold themselves responsibleaK”if lost, stolen, damaged, or otherwise destroyed,but they will be left at the derisk of the purchaser. -
Confessions of William-Henry Ireland
THE CONFESSIONS OF WILLIAM-HENRY IRELAND1 CONTAINING THE PARTICULARS OF HIS FABRICATION OF THE Shakspeare Manuscripts; TOGETHER WITH ANECDOTES AND OPINIONS (Hitherto unpublished) OF MANY DISTINGUISHED PERSONS IN THE Literary, Political, and Theatrical World. “THE WHOLE TRUTH, AND NOTHIKG BUT THE TRUTH.” LONDON, PRINTED BY ELLERTON AND BYWORTH, JOHNSON‟s COURT, FLEET STREET, FOR THOMAS GODDARD, CORNER OF PALL MALL AND THE HAYMARKET. 1805. (Price, 7s. 6d. in Boards.} PREFACE. IN the year 1796 I gave to the world a concise pamphlet, in which I avowed my- self the fabricator of the manuscripts at- tributed by me to Shakspeare. The papers themselves, and the cir- cumstances attending their production, had so highly excited the public curio- sity that the whole edition was disposed of in a few hours: and so great has since been the eagerness to procure a copy, that, though originally published at one shilling, a single impression has been sold, in a public auction-room, at the extrava- gant price of a guinea. This fact was known to many of my friends, who in consequence have often expressed surprise that I did not repub- lish the pamphlet, and have frequently importuned me to do so: but the revival of the subject, I conceived, might rather tend to injure than benefit me as a li- terary character: besides, I had already suffered much from the agitation of the question, and had reason to wish it might for ever rest in peace. The consideration, however, that I do but injure my own re- putation by silently bearing a more than merited portion of obloquy has at length incited me to give a narrative of the facts in the order in which they occurred, and a simple relation of the motives as they arose and operated on my conduct, that the world may be enabled to judge be- tween my contemners and me, and that my character may be freed from the stig- mas with which it has so undeservedly been sullied. -
Anecdotes of the Theatre (1914)
More Anecdotes of tii« heatre '^ ^>- c -l;-' /9/^/ CORNELL UNIVERSITY LIBRARY 3 1924 079 583 765 The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924079583765 A TVTT7r^r»r\T'rro — — — Uniform with this Volume ANECDOTES OF PULPIT AND PARISH COLLECTED AND ABRANGKD BY ARTHUR H. ENGELBAOH "Nearly a thousand good stories." Pall Mall Gazette. " Abundant and well selected, contains a fund of wit and humour." Evening^ Standard. "An excellent book for whiling away an hour at any time." Sunday Times. ANECDOTES OF THE THEATRE COLLECTED AND ABBANGBD BY ARTHUR H. ENGELBAGH AUTHOR OF "ANKODOTER OF BENCH AND BAR" t LONDON GRANT RICHARDS LTD. PUBLISHERS PRINTED BY THE RIVERSIDE PRESS LIMITED EDINBURGH 1914 ANECDOTES OF THE THEATRE GOOD story is told of a rich banker at Paris, A who, though a sexagenarian, fancied himself a perfect Adonis, and was always behind the scenes, hanging about and making love to Mademoiselle Saulnice, to whom the machinist of the Opera House was paying his addresses. Determined to be re- venged, and profiting by the moment when his rival, in uttering soft nonsense, had inadvertently placed his foot upon a cloud, the machinist gave a whistle, which was the signal for raising the cloud. When the curtain was drawn up the audience were not a little edified at seeing the banker, with powdered head, and gorgeously attired in evening costume, embroidered coat and waistcoat, ascending to the clouds by the side of Minerva, represented by the object of his devotion. -
Arrant Beggars: Staging the Atlantic Lumpenproletariat, 1777 to 1852 Peter Patrick Reed
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Arrant Beggars: Staging the Atlantic Lumpenproletariat, 1777 to 1852 Peter Patrick Reed Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES ARRANT BEGGARS: STAGING THE ATLANTIC LUMPENPROLETARIAT, 1777 TO 1852 By PETER PATRICK REED A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 Peter Patrick Reed All Rights Reserved The members of the Committee approve the Dissertation of Peter Patrick Reed defended on 20 April, 2005. ____________________________ W. T. Lhamon, Jr. Professor Directing Dissertation ____________________________ Karen A. Bearor Outside Committee Member ____________________________ Leigh H. Edwards Committee Member ____________________________ Barry J. Faulk Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To my parents, Robert and Linda, and to Rip, who believed in me from the beginning. iii ACKNOWLEDGEMENTS While any shortcomings are entirely my own, this project owes an incredible amount to numerous people and institutions who lent me valuable time, money, and advice during the course of its gestation. For financial support, I am grateful to a University Dissertation Research grant, FSU Congress of Graduate Students conference funding, and a University Fellowship for respectively keeping me in the archives, sharing my work, and eating actual food. During the course of my research, I compiled massive debts of time and effort to the collective staffs of Florida State University’s Strozier Library, the Library Company of Philadelphia, the British Library, and most of all the Houghton Library and the Harvard Theatre Collection, where resides much of the remarkable and hidden archival material I discuss. -
Performing Arts Prints Collection
Performing Arts Prints Collection: An Inventory of the Collection at the Harry Ransom Center Descriptive Summary Creator: Performing Arts Prints Title: Performing Arts Prints Collection Dates: 1669-1906 (bulk 1775-1825) Extent: 54 document boxes, 7 oversize boxes (33.38 linear feet) Abstract: The collection consists of circa 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. Call Number: Performing Arts Collection PA-00029 Language: English. Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. Restrictions on Authorization for publication is given on behalf of the University of Use: Texas as the owner of the collection and is not intended to include or imply permission of the copyright holder which must be obtained by the researcher. For more information please see the Ransom Centers' Open Access and Use Policies. Administrative Information Provenance The Prints Collection was assembled by Ransom Center Theater Arts Performing Arts Prints Performing Arts Collection PA-00029 Provenance The Prints Collection was assembled by Ransom Center Theater Arts staff, primarily from the Messmore Kendall Collection which was acquired in 1958. -
Proquest Dissertations
THE FORTUNES OF KING LEAR IN LONDON BETWEEN 1681 AND 1838: â chronological account of its adaptors, actors and editors, and of the links between them. Penelope Hicks University College London Ph.D ProQuest Number: U642864 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642864 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis examines three interwoven strands in the dramatic and editorial history of King Lear between 1681 and 1838. One strand is the history of the adaptations which held the London stage during these years; the second is the changing styles of acting over the same period; the third is the work of the editors as they attempted to establish the Shakespearean text. This triple focus enables me to explore the paradoxical dominance of the adaptations at a time which saw both the text being edited for the first time and the rise of bardolatry. The three aspects of the fortunes ofKing Lear are linked in a number of ways, and I trace these connections as the editors, adaptors and actors concentrated on their own separate concerns. -
CHARLES DIBDIN and LATE GEORGIAN CULTURE Comp
Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 1 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi CHARLES DIBDIN AND LATE GEORGIAN CULTURE Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 2 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 3 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Charles Dibdin and Late Georgian Culture Edited by OSKAR COX JENSEN DAVID KENNERLEY and IAN NEWMAN 1 Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 4 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi 3 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © the several contributors 2018 The moral rights of the authors have been asserted First Edition published in 2018 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. -
The Old Engravers of England in Their Relation to Contemporary Life and Art
7 VI l ^ >. I } A_/ OLD ENGRAVERS OF ENGLAND MALCOLM C. ALAMAN THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES 60 g _ t- .aC !3 C a tf * Pi 3*1 ,.* Zp C $ o g* - S o, o g^TS-i '^ o a II3 - ^ C) Cfl ** S .S 3 2 33 w ^ 111 s -a o> It >^ S ^^ Bjsnsn *d ^a* s g o> .a .11 *J o M o -c b ^H iliaiei!CT-S 6042 fl T*- PH 3 -5 .S -3 a^ i-a H *- O .^ o W 5< *-* t5 ^ w S S c ' c i i S 2 .2 e-S 1.^ 5 IH <-! a 'S .5 c o T3 .2 M rf-S -ll P Q\C 5i 3 ^^ c - S ^.o g,^ c g 5^ ) .2 S -3 ^s15 | 'S 5 fe -S o s . fc " a W O3 V< rt flj a 0) O I" e o iJ'-^ft- P O O ^, C 0) r* O3 S,' > s! >> >>.*3 fi 3 111 II J $e on gts'8o be - O O O D, * 45 .fa "5 ^ ^ 1 J 2 *2 T3 MS o ri a S g-S CO CO _2? 2 73 1 | t<I i !58 1"H ~ g, P o S ll|ia--j3 d -S t: | 1 0) >> c -^ .ti tilii* M 5 3 3 o cr 2o. ' 5 2 ^^ C JJ ^ ^ 5 spll^lllSilllO O cd ill^iiiii ^8^ i . w w ,2 c 4J Jj*o S "SIS-* -S JJ o ". S^ to 1 < >^ co i 8 2 3 *i: -J .en *s" mi's 3c <u =33 * .s- '! ,S i e c 'in> cd Irt & ^3 3 rt O% <* *- OD o SiP* a c aS o -o s"2 -6-P! M ^ 3 S ^ ^ i .5 o i^s Sg 2 Sw -5 |*fS cr rf c P 3 , Z2 ' 3S H C = S S <u J3 >> ^^2 rt 1*0 | 3 :K5 ol> Sal "53 :: J3 o ^11 ^ S fe 3 .5 g t.