Robert Thew & Josiah Boydell

Shakspeare. Second Part of King Henry the Fourth. Act IV, Scene IV. The Palace at Westminster. King Henry & the Prince of Wales. Published April 23, 1798, by J. & J. Boydell at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Engraved by Robt. Thew, Histl. Engraver to H. R. H. the Prince of Wales. Painted by Josiah Boydell.

Prince Henry. O, pardon me, my liege! but for my tears,
[Kneeling.
The moist impediments unto my speech,
I had forestall'd this dear and deep rebuke,
Ere you with grief had spoke, and I had heard
The course of it so far. There is your crown:
And He that wears the crown immortally,
Long guard it yours! If I affect it more,
Than as your honour, and as your renown,
Let me no more from this obedience rise, -
(Which my most true and inward duteous spirit
Teacheth,) - this prostrate and exterior bending!
Heaven witness with me, when I here came in
And found no course of breath within your majesty,
How cold it struck my heart! …

Robert Thew's original stipple and line engraving depicts the second part of King Henry the Fourth, Act IV, Scene IV. The initial painting was executed by Josiah Boydell who thus served as both designer and publisher. This engraving serves as a continuance to the engraving, Prince Henry Taking the Crown, where Prince Henry falsely believes his father is dead and seizes the crown. This scene takes place at the Westminster Palace in the King's room. Prince Henry kneels before his father's bedside, returns the crown and asks the King for forgiveness. (The text above discloses the Prince of Wales' apology to his father)

Shakespeare characters for this play include, King Henry the Fourth, his son and heir, the Prince of Wales (Prince Henry), and King Henry's other sons, Prince John of Lancaster, and Humphrey, Duke of Gloucester, Thomas, Duke of Clarence. The King's loyal noblemen are represented by the Earl of Warwick, the Earl of Westmorland, the Earl of Surrey and others. The traitors or rebels as they are called are portrayed by Hotspur, Henry Percy, 2nd Earl of Northumberland, also known as (Sir Harry Hotspur), a wild, reckless, and valiant warrior. Hotspur is the son of Henry Percy, Earl of Northumberland, and nephew of Thomas Percy, Earl of Worcester who along with Lord Hastings, Lord Bardolph, Lord Mowbray, Sir John Colevile, Richard Scroop, the Archbishop of York and others have led several rebellions against King Henry IV of England. Shakespeare writes that the Prince of Wales vowed to kill Hotspur for his successive rebellions against his father. Other interesting characters in this play include, Edward Poins (Prince Henry's constant companion and accomplice in debauchery), Sir John Falstaff (a cowardly, old rogue and schemer who has little regard for the property of others), Falstaff's three partners in crime, Peto, Gadshill and Bardolph, servants, officers, the Lords wives, Lady Percy and Lady Northumberland, Hostess Quickly who is the owner of the Boar's tavern in Eastcheap, and her helpers, Doll Tearsheet, Francis, and others.

This original engraving is an 'Open Letter Proof Impression'. 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 The full text beneath the image of this proof impression reads; "Shakspeare. Second Part of King Henry the Fourth. Act IV, Scene IV. The Palace at Westminster. King Henry & the Prince of Wales. Published April 23, 1798, by J. & J. Boydell at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Engraved by Robt. Thew, Histl. Engraver to H. R. H. the Prince of Wales. Painted by Josiah Boydell."

Note: As this is an original proof impression, it lacks the following text that appears in later impressions.

P. Hen. O. pardon me, my liege! but for my tears
[kneeling.
The moist impediments unto my speech,
I had for-stall'd this dear and deep rebuke,
Ere you with grief had spoke, and I had heard
The course of it so far: There is your crown;
And He that wears the crown immortally,
Long guard it yours!"

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.

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