Benjamin Smith & Sir William Beechey

This engraving depicts a full length standing portrait of King George III dressed in full military uniform. His face is slightly turned to his left. He is holding a staff in his left hand and his gloves in his right hand. In the background there is a horse and a groom and also visible further in the distance, is a group of soldiers riding away. Although this engraving does not have the title or any information beneath the portrait since it is a proof impression, the inscription printed along the base of the portrait for the engraving housed in the Victoria & Albert Museum, Museum Number: E.1251-1936 and later impressions read;

"His most Gracious Majesty King George the Third. This Print, Engraved from a Picture painted by Sir. William Beechey, in his Majesty's Collection. Is most humbly Dedicated to Her Majesty by her Most Dutiful & Loyal Subjects J. & J. Boydell. Pub. Decr. 1, 1904, by J. & J. Boydell at the Shakespeare Gallery, Pall Mall & at 90 Cheapside, London. Engraved by Benjamin Smith. Painted by Sr. Wm. Beechey R. A ."

This original stipple engraving is an 'Artist Proof Impression'. It is the earliest of states and was printed in only a handful of impressions. 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.

"His most Gracious Majesty King George the Third. This Print, Engraved from a Picture painted by Sir. William Beechey, in his Majesty's Collection. Is most humbly Dedicated to Her Majesty by her Most Dutiful & Loyal Subjects J. & J. Boydell. Pub. Decr. 1, 1904, by J. & J. Boydell at the Shakespeare Gallery, Pall Mall & at 90 Cheapside, London. Engraved by Benjamin Smith. Painted by Sr. Wm. Beechey R. A ."

An Important Note on Boydell States and Editions: The vast majority of Boydell's Shakespeare engravings offered for sale are posthumous impressions. 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.

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