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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

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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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: 1415.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): 4043.Google Scholar
Spielmann, M. H.The ‘Grafton’ and ‘Sanders’ Portraits of Shakespeare.” The Connoisseur 23.90 (1909): 97102.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. 2542.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. 183201.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. 4557.Google Scholar
Nolen, Stephanie. Shakespeare’s Face. Toronto: Knopf, 2002.Google Scholar

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