Edward Scriven and Richard Westall

Shakspeare. Julius Caesar. Act IV, Scene III. Brutus' Tent, in the Camp near Sardis. Brutus & the Ghost of Caesar. London: Pub. Dec. 1. 1802, by J. & J. Boydell, Shakspeare Gallery, Pall Mall; & No. 90. Cheapside. Engraved by Edward Scriven Historical Engraver to H. R. H. the Princess of Wales. Painted R. Westall R. A.

[Enter the Ghost of Caesar]

Brutus. How Ill this taper burns! Ha! Who comes here?
I think it is the weakness of mine eyes
That shapes this monsterous apparition.
It comes upon me. Art thou any thing?
Art thou some god, some angel, or some devil,
That mak'st my blood cold, and my hair to stare?

Ghost. Thy evil spirit, Brutus.

Brutus. Why coms't thou?

Ghost. To tell thee, thou shalt see me at Philippi.

Brutus. Well; then I shall see thee again?

Ghost. Ay, at Philippi.

Brutus. Why, I shalt see thee at Philippi then.

[Exit Ghost.]

This engraving was inspired from a William Shakespeare play, Julius Caesar: Act Four Scene Three, with Marcus Brutus (a Roman warrior, and one of the conspirators who murdered Julius Caesar), and the ghost of Julius Caesar (the great Roman General), appearing unto Brutus in his tent. The Ghost has come to warn Brutus that they will meet again at Philippi where the next battle will take place. Brutus is seated to the right with both hands on his book. His head is turned to the left facing the ghost, his helmet and sword rest on the floor.

This original engraving is a 'Spooner Edition". 5. 'Posthumous Impressions and Restrikes'. Shearjashub Spooner acquired the plates, 'restored' them and published the last edition in New York In 1852. The text below the image of this impression reads;

"Shakspeare. Julius Caesar. Act IV, Scene III. Brutus' Tent, in the Camp near Sardis. Brutus & the Ghost of Caesar. London: Pub. Dec. 1. 1802, by J. & J. Boydell, Shakspeare Gallery, Pall Mall; & No. 90. Cheapside. Engraved by Edward Scriven Historical Engraver to H. R. H. the Princess of Wales. Painted R. Westall R. A.

Bru. Speak to me, what thou art.
Ghost. Thy evil spirit, Brutus.
Bru. Why coms't thou?
Ghost. To tell thee, thou shalt see me at Philippi.
Bru. Well, then, I shalt see thee again?
Ghost. Ay, at Philippi.
Bru. Why, I shalt see thee at Philippi then."

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. This impression of Julius Caesar: Act Four, Scene Three hails from this last named edition. Yet, unlike many of the Spooner impressions, this original engraving bears little damage or wear.

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