Shakespeare's Bones: The Proposal to Disinter Them, Considered in Relation to Their Possible Bearing on His Portraiture: Illustrated by Instances of Visits of the Living to the DeadIngleby, C. M. (Clement Mansfield)
General
Shakespeare's Bones: The Proposal to Disinter Them, Considered in Relation to Their Possible Bearing on His Portraiture: Illustrated by Instances of Visits of the Living to the Dead
II.—The so-called Janssen portrait (on wood) in the collection of the
Duke of Somerset. This has been traced back to 1761, when it was
purchased by Charles Jennens, Esq., of Gopsall. Its identity with the
portrait which was purchased for the Duke of Hamilton and Brandon in 1809
is, at least, highly probable. In 1811 Woodburn published the first
engraving from it, and stated that the picture had belonged to Prince
Rupert, who left it to Mrs. E. S. Howes on his death in 1682. No actual
proof of this was given, nor did Woodburn mention Jennens’ ownership.
III.—The Croker portrait. We have it on the authority of Boaden that
this portrait, which he said was the property of the Right Hon. J. Wilson
Croker, was a replica of the Janssen. There was a mystery, not in the
least cleared up, concerning these two pictures and their history. I am
unable to ascertain who at present owns the later one. Collectors of the
prints can always distinguish between the two. The only engraving of the
Croker portrait was by R. Cooper; published January 1, 1824, by G.
Smeeton, and is an oval in a shaded rectangle. All the rest are either
from the Janssen, or from Dunkarton’s engraving of it. {37}
IV.—The Chandos portrait (on wood) in the National Portrait Gallery at
South Kensington. It has been traced back to 1668, when, on Davenant’s
death, it passed to John Otway: but not in its present or even late
condition.
V.—The Lumley portrait, well known through the admirable
chromo-lithograph, by Mr. Vincent Brooks (which is scarcely
distinguishable from the original), and once sold for forty guineas as
the original portrait. It has been traced back to 1785.
VI.—The Ashbourne portrait.
VII.—The Felton portrait (on wood), traced back to 1792.
VIII.—The Challis portrait (on wood).
IX.—The Hunt portrait: at the Birthplace. This is not in its original
state, and cannot be judged-of apart from a copy of it in the possession
of John Rabone, Esq., of Birmingham.
Of these III, VI, and VIII have not been satisfactorily traced back even
into the last century.
Public-domain text, read in full here on John Shaqi.
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