Design Toscano AH22672 William Shakespeare Bust Statue, Desktop, Polyresin, Antique Stone, 30.5 cm

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Design Toscano AH22672 William Shakespeare Bust Statue, Desktop, Polyresin, Antique Stone, 30.5 cm

Design Toscano AH22672 William Shakespeare Bust Statue, Desktop, Polyresin, Antique Stone, 30.5 cm

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Along Curtain Ro Engraving of the sculpture of Shakespeare at the entrance to the Boydell Shakespeare Gallery. The sculpture is now in the former garden of Shakespeare's home New Place in Stratford.

Brown, Mark, ‘A New View: is this the real Shakespeare?’, Guardian (10 March 2009) <> [Accessed 12 March 2014] Hamper, William, ed. The Life, Diary and Correspondence of Sir William Dugdale. London: Harding, 1827.These are portraits of men made during Shakespeare’s lifetime which have been identified as him. There is no further evidence that they are, although the Sanders is traditionally attributed to John or Thomas Sanders, who may have been a scene painter for Shakespeare’s company. Greene also had two other precedents: Thomas Hanmer’s recent edition of Shakespeare (1744), with Gravelot’s engraving, modeled on Vertue’s engraving of the writer in Pope’s edition (Fig. 4), and the very popular editions of Shakespeare (1733 and 1740) by Lewis Theobald, which Greene twice expressed interest in buying (56). Theobald described the effigy as having “a cushion spread before him, with a pen in his right hand, and his left resting on a scroll of paper” (13). No evidence puts Theobald — or Hanmer — in Stratford. Theobald certainly would have seen Vertue’s engravings, for he was Pope’s most outspoken critic. The face in the Cobbe portrait is that of a youngish man, but that, I think, is deceptive. By way of comparison, we might consider the Flower portrait, which was donated to the Royal Shakespeare Company in the 19th century and was long thought to have been the original from which Martin Droeshout made his engraving for the First Folio.

Yes, William’s father, John Shakespeare, was granted a coat of arms in 1596. It was disputed in 1602 by York Herald, Ralph Brooke, saying that the arms were too similar to existing coats of arms, and that the family was unworthy. However, the challenge was unsuccessful, as the Shakespeare coat of arms appears in later heraldic collections and on William Shakespeare’s funeral monument in Holy Trinity Church, Stratford-upon-Avon. Does Shakespeare have descendants? Writing soon after the restoration, Greene wrote that "the figure of the Bard" was removed to be "cleansed of dust &c". He noted that the figure and cushion were carved from a single piece of limestone. He added that "care was taken, as nearly as could be, not to add to or diminish what the work consisted of, and appear'd to have been when first erected: And really, except changing the substance of the Architraves from alabaster to Marble; nothing has been chang'd, nothing alter'd, except supplying with original material, (sav'd for that purpose,) whatsoever was by accident broken off; reviving the Old Colouring, and renewing the Gilding that was lost". [9] John Hall, the limner from Bristol hired to do the restoration, painted a picture of the monument on pasteboard before 1748. [23] Greene also had a plaster cast of the head made before the restoration began. [24] The following is an examination of a number of likenesses of Shakespeare, some well-known, some less so. The common features of these images are identified: those distinguishing marks which help us to recognise genuine portraits of the Bard. As I reveal the distinguishing features of Shakespeare portraiture, two other items will enter the equation. Both have interesting stories attached to them, and both may help us to make sense of the essential details we find in representations of Shakespeare’s face. Apart from the Droeshout woodcut and the Stratford bust, there are no portraits which can be definitively identified as representing William Shakespeare. Even the Chandos painting, the very first picture acquired by the National Portrait Gallery, is only assumed to be of him because it represents a man who looks very much like our much-loved playwright and poet.


A statue made from tin was erected in the gardens outside the Festival Theatre, the principal theatre on the grounds of the Stratford Shakespeare Festival, held every year from April to November in Stratford, Ontario, Canada. The painted effigy is a half-height depiction of Shakespeare holding a quill, with a sheet of paper on a cushion in front of him. In the 17th century, a Jacobean sculptor called Gerard Johnson was identified as the artist behind it. Orlin believes that the limestone monument was in fact created by Nicholas Johnson, a tomb-maker, rather than his brother Gerard, a garden decorator.

Lena shows that the person we thought had sculpted the monument for years, Gerard Johnson, is not the right person and that Nicholas Johnson instead produced monuments of people while they were still alive. It’s just amazing. I think that the monument will never be the same again after Lena’s research. She’s made us look at it with fresh eyes,” Edmondson said. Our idea of Shakespeare as a singular genius who represents the sum and summit of British culture dates only from the middle of the 18th century, more than 100 years after Shakespeare’s death. This idea, which we now take for granted, was partly inspired by the publication of scholarly editions of Shakespeare’s plays, beginning with Nicholas Rowe’s six-volume edition in 1709 and continuing throughout the century, with important editions prepared by Alexander Pope (1725), William Warburton (1747), Samuel Johnson (1765), and Edmond Malone (1790). Unlike the four Folio texts that were printed between 1623 and 1685, 18th-century Shakespeare editions commented upon the text, updated spelling and punctuation, explained obscure terms, and attempted to reconcile variant or originally misprinted passages. In other words, they looked more or less like the Cambridge, Oxford or Arden editions of Shakespeare that are used today in classrooms around the world. William Shakespeare Statue, New York City department of Parks and Recreation". 12 February 2007 . Retrieved 10 December 2011.

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This does not suggest to me that the various representations all drew on an original portrait. If they had, the ‘look’ would be similar, even though some of the distinguishing details might have been lost.

Statue of Shakespeare (1564–1616) on Boulevard Haussmann, unveiled in 1888". . Retrieved 10 December 2011.Roper, David. “The Truth Behind Shakespeare’s Monument at Stratford-upon-Avon.” 1994 ( Wells, Stanley and Taylor, Gary, eds., William Shakespeare: The Complete Works, 2nd edn (Oxford, Oxford University Press, 2005) Experimenting on himself, Sir Isaac Newton (1642-1727) once forced a darning needle around the side of his eye so that he could poke at the rear of his own eyeball and reported seeing ‘white, darke & coloured circles’ so long as he kept stirring with ‘ye bodkin’. We don’t really know how Shakespeare’s young son Hamnet died. He had a twin sister named Judith, who lived to adulthood and married, but Hamnet died at the age of 11 and a half. Child mortality was high in the 16th century; there were no antibiotics and many childhood diseases might therefore prove fatal, such as scarlet fever, whooping cough, diphtheria, and even measles. He was buried on August 11, 1596. What is the inscription on Shakespeare’s grave? Today’s Stratford monument is the defining image of William Shakspere of Stratford-upon-Avon as the alleged author of Shakespeare’s poems and plays. In the church where he’s buried, it shows a writer with pen, paper and writing surface (a cushion of all things). The plaque on it says it’s for “Shakspeare,” although without a first name. Thus, according to the Stratfordian storyline, the monument was erected to honor the world’s greatest writer, namely the man from Stratford. But this monument is a fraud, a “monumental” fraud. It is not the original, nor does its effigy resemble the original. The cumulative power of the evidence against the authenticity of today’s monument is clear and convincing.

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