Samuel Middiman, Robert Smirke & Joseph Farington

Joseph Farington: A Fine English landscape illustrator and painter, Joseph Farington studied under Richard Wilson. Farington was a member of the Society of Antiquaries, the Society of Artists of Great Britain and a founding member of the Royal Academy in London. He illustrated such books as, "Views of Somerset Place, Including the Adelphi, etc" by Joseph Constantine Stadler; Joseph Farington; William Byrne" by William Byrne, (1791), "The Lakes of Lancashire, Westmoreland and Cumberland" delineated in forty-three engravings from drawings by J. Farington , Thomas Hartwell Horne, London (1816), "Britannia Depicta" with views in Derbyshire by Joseph Farington, by T. Cadell and W. Davies, (1818) and other illustrated topographical books. He was also the author of the Farington Diary, an important and historical record of British art and artists, detailing events from the last quarter of the 18th century and into the first quarter of the 19th century. His works can be found in the collections of the Fine Arts Museums of San Francisco, California, The Metropolitan Museum of art, New York, The Tate, London, Harvard University Art Museums, Massachusetts, and other important private and public institutions.

Shakspeare. First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. Publish'd Septr. 29. 1797. J. & J. Boydell, at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Engraved by Saml. Middiman. Painted by R. Smirke, R. A. & Joseph Farington, R. A.

Prince Henry. The thieves have bound the true men: Now could thou and I rob the thieves, and go merrily to London, it would be argument for a week, laughter for a month, and a good jest for ever.

Poins. Stand close, I hear them coming.
[Re-enter Thieves.]

Falstaff. Come, my masters, let us share, and then to horse before day. An the Prince and Poins be not two arrant cowards, there's not equity stirring: there's no more valour in that Poins than in a wild duck.

Prince Henry. Your money. [Rushing out upon them.]

Poins. Villains.
[As they are sharing, the Prince and Poins set upon them; they all run away; and Falstaff, after a blow or two, runs away too, leaving the booty behind them.]

Prince Henry. Got with much ease. Now merrily to horse:
The thieves are scatter'd, and possess'd with fear
So strongly, that they dare not meet each other;
Each takes his fellow for an officer.
Away, good Ned. Falstaff sweats to death,
And lards the lean earth as he walks along:
Were't not for laughing, I should pity him.

This original Samuel Middiman engraving was created after a painting created by Joseph Farington as was commissioned by Boydell for the Shakespeare Gallery to represent Act 2, Scene 2 from a play entitled, First Part of King Henry the Fourth by William Shakespeare. The scene depicts Sir John Falstaff, and his three partners in crime, Peto, Gadshill and Bardolph preparing to commit a highway robbery on to The Road by Gadshill. However, they are not aware that Prince Henry, and Edward Poins are planning to rob the robbers. Shakespeare's characters in this scene include Falstaff (the cowardly, old rogue who is constantly scheming, and has little regard for the property of others), his three partners in crime, Peto, Gadshill and Bardolph, Prince Henry (King Henry's oldest son), and Edward Poins (Prince Henry's constant companion and accomplice in debauchery). The text above includes a portion of the conversation taking place.

This original engraving is an 'Artist Proof Impression' 1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin. Note: As this is an original proof impression, it lacks the following text that appears in later impressions.

Shakspeare. First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. Publish'd Septr. 29. 1797. J. & J. Boydell, at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Engraved by Saml. Middiman. Painted by R. Smirke, R. A. & Joseph Farington, R. A.

Fal. Come, my masters, let us share, and
then to horse before day. An the Prince and Poins be not two arrant cowards' there's
no equity stirring: there's no more valour
in that Poins than in a wild duck
P. Hen. Your money! [Rushing out upon them.
Poins. Villains!

An Important Note on Boydell States and Editions: Proof impressions and true first edition impressions are easily identified by their fine lines and strong contrasts of black and white tones. Later more common editions print in a more overall grey tone and contain areas of re-working. Briefly, the publishing history of these great engravings can be categorized into five states or editions:

1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin.
2. 'Proofs Before Title'. These impressions usually contain the names of the artist, publisher and engraver along the lower margin. They lack the title of the specific play depicted and usually the heading -- 'Shakspeare' -- is smaller than in the published edition. Once again, this state was printed in a very small numbers.
3. 'Open Letter Proofs'. These impressions bear the title of the play. the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer's request. Perhaps ten to twenty Open Letter Proofs exist for each engraving.
4. 'First Edition Impressions'. The completed set of Boydell's Shakespeare engravings was published in London in 1803. The full publisher's address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling. Both first edition impressions and proofs were most often printed on either hand-made, laid paper or wove paper bearing the 'J. Whatman' watermark.
5. 'Posthumous Impressions and Restrikes' As early as 1807, John Stockdale of London issued a second edition of the Shakespeare prints. They continued to be published throughout the first half of the nineteenth century. Finally, in 1852, an enterprising dentist in New York City (with the delightful name of Shearjashub Spooner) acquired the plates, restored them and produced the last edition. These prints are most commonly offered for sale.

The artist biographies, research and or information pertaining to all the original works of art posted on our pages has been written and designed by Greg & Connie Peters exclusively for our site, (www.artoftheprint.com). Please visit us regularly to view the latest artworks offered for sale. We will soon be posting an update of our most recent research and include the biographical and historical information pertaining to our next collection of original works of art created by artists throughout the centuries. We hope you found the information you were looking for and that it has been beneficial.

Our Gallery, (Art of the Print / www.artoftheprint.com) guarantees the authenticity of every work of art we sell 100%. Full documentation and certification is provided. We offer a wide selection of international fine art dating from the early Renaissance to the contemporary art period.