page_title: John Boydell
section_title: Shakespeare venture
hierarchical_section_title: John Boydell / Shakespeare venture
caption_attribution_description: Shakespeare Sacrificed: Or the Offering to Avarice, etching and aquatint with engraving, hand-colored. "For much of the eighteenth century, English patricians collected Old Master paintings by European artists, virtually ignoring their own native painters. To address this slight and to create a school of English history painting, John Boydell, printseller and engraver, undertook a campaign to commission British artists to paint works on Shakespearean themes. The project was to be funded by the sale of prints engraved after those paintings, and ultimately assembled in an illustrated edition of Shakespeare. The first group of thirty-four paintings by eighteen artists went on view at Boydell’s Shakespeare Gallery in May 1789; the first one hundred engravings were issued in a set of nine volumes in 1802. Unfortunately, war with France ended the export market for the Shakespeare engravings and led to Boydell’s ruin. Gillray was not invited to engrave any of the commissioned paintings, and he exacted his revenge in this print. Alderman Boydell is seen kneeling before an altar where copies of Shakespeare’s plays are consumed by fire, fanned by a fool; within the rising smoke, which obscures a statue of Shakespeare, are figures from paintings by Reynolds, West, Fuseli, Northcote, Barry, and Opie, commissioned by Boydell. Gillray implies that Boydell was motivated purely by Avarice, here a strange gnome who, perched on a bound volume of subscribers’ names, clutches two moneybags. Vanity, blowing a bubble of Immortality, perches on Avarice’s shoulder. Gillray also takes a swipe at the Academy by including, in the left foreground, a little boy, palette and brushes in hand, who prevents a second child, with an engraver’s burin, from entering the hallowed circle of the Royal Academy (the Greek words within, which translate as “Let no stranger to the Muses enter,” were inscribed above the Academy’s Great Exhibition Room at Somerset House). Engravers, considered to be mere copyists, did not qualify for full membership in the Academy. Gillray’s print was apparently very popular with Boydell’s artists, who “could neither eat, drink or sleep til they had procured this print.” Draper Hill notes that colored impressions of Shakespeare-Sacrificed were not issued until 1800." (NYPL)
context_page_description: John Boydell was a British publisher noted for his reproductions of engravings. He helped alter the trade imbalance between Britain and France in engravings and initiated a British tradition in the art form. A former engraver himself, Boydell promoted the interests of artists as well as patrons and as a result his business prospered.
  The son of a land surveyor, Boydell apprenticed himself to William Henry Toms, an artist he admired, and learned engraving. He established his own business in 1746 and published his first book of engravings around the same time. Boydell did not think much of his own artistic efforts and eventually started buying the works of others, becoming a print dealer as well as an artist. He became a successful importer of French prints during the 1750s but was frustrated by their refusal to trade prints in kind. To spark reciprocal trade, he commissioned William Wollett's spectacular engraving of Richard Wilson's The Destruction of the Children of Niobe, which revolutionised the print trade. Ten years later, largely as a result of Boydell's initiative, the trade imbalance had shifted, and he was named a fellow of the Royal Society for his efforts.
context_section_description: Boydell's crowning achievement was his Shakespeare project, which was to occupy much of the last two decades of his life. The project contained three parts: an illustrated edition of Shakespeare's plays, a public gallery of paintings depicting scenes from the plays, and a folio of prints based on the paintings.
  The idea of a grand Shakespeare edition was conceived at a dinner at Josiah Boydell's home in November 1786. The guest list itself is evidence of Boydell's extensive connections in the artistic world: Benjamin West, painter to King George III; George Romney, a renowned painter; George Nicol, bookseller to the king and painter; William Hayley, a poet; John Hoole, a scholar and translator of Tasso and Aristotle; and Daniel Braithwaite, an engineer. Most sources also list the painter Paul Sandby. Although the initial idea for the edition was probably not Boydell's, he was the one to seize and pursue it. He wanted to use the edition to facilitate the development of a British school of history painting.
  The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was the focus of the enterprise. The print folio and the gallery were simply offshoots of the main project.  In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition". Boydell was responsible for the "splendor", and George Steevens, a renowned Shakespearean editor, was responsible for the "correctness of text".  The volumes themselves were handsome, with gilded pages. Even the quality of the paper was extraordinarily high. The illustrations were printed independently and could be inserted and removed as the customer desired. The first volumes of the Dramatick Works were published in 1791 and the last in 1805. The edition was financed through a subscription campaign in which the buyers would offer partial payment up front and then pay the remaining sum on delivery.  This practice was necessitated by the fact that over £350,000—an enormous sum at the time—was eventually spent on the enterprise.
  When it opened on 4 May 1789 at 52 Pall Mall, the Shakespeare Gallery contained 34 paintings and by the end of its run it had between 167 and 170. The Gallery itself was a hit with the public and became a fashionable attraction. It took over the public's imagination and became an end in and of itself.
  To illustrate the edition and to provide images for the folio, Boydell obtained the assistance of the most eminent painters and engravers of the day. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, John Opie, and Boydell's nephew and business partner, Josiah Boydell. Among the engravers were Francesco Bartolozzi and Thomas Kirk. Boydell's relationships with his artists, particularly his illustrators, was generally congenial. James Northcote praised Boydell's liberal payments. He wrote in an 1821 letter that Boydell "did more for the advancement of the arts in England than the whole mass of the nobility put together!  He paid me more nobly than any other person has done; and his memory I shall every hold in reverence".
  At the beginning of the enterprise, reactions were generally positive.  Two reviews from the most influential newspapers in London at the time solidified and validated the public's interest in the project and the artists' efforts. However, there was also some criticism. In particular the satirical engraver James Gillray appears to have been peeved at not being commissioned to engrave any of the Shakespeare scenes and, in revenge, published Shakespeare Sacrificed: Or the Offering to Avarice just six weeks after the gallery opened. Gillray followed up with further cartoons such as Boydell sacrificing the Works of Shakespeare to the Devil of Money-Bags. As the project dragged on, the criticism increased. Yet, Boydell's project still inspired imitators. Thomas Macklin attempted to found a Poet's Gallery similar to the Shakespeare Gallery and severa
caption: James Gillray, passed over for the Shakespeare Gallery engravings, responded with Shakespeare Sacrificed: Or the Offering to Avarice.
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