COLLECTION NAME:
LUNA: Folger Digital Image Collection
mediaCollectionId
FOLGERCM1~6~6
LUNA: Folger Digital Image Collection
Collection
true
Digital Image File Name:
3285
rootfile
3285
Digital Image File Name
false
Source Call Number:
FPs17 (conserved)
call_number
FPs17 (conserved)
Source Call Number
false
Source Creator:
Anonymous
author
Anonymous
Source Creator
false
Source Title:
Janssen Portrait of Shakespeare
cd_title
Janssen Portrait of Shakespeare
Source Title
false
Image Details:
from a 4x5 color transparency
special_instructions
from a 4x5 color transparency
Image Details
false
Source Created or Published:
Early 1610s, altered before 1770
imprint
Early 1610s, altered before 1770
Source Created or Published
false
Digital Image Type:
FSL collection
image_type
FSL collection
Digital Image Type
false
HAMNET CATALOG RECORD:
___
Title (Hamnet):
Janssen portrait of Shakespeare [graphic]
bib_title
Janssen portrait of Shakespeare [graphic]
Title (Hamnet)
false
Date of Creation or Publ. (Hamnet):
Early 1610s, altered before 1770.
bib_creation_date
Early 1610s, altered before 1770.
Date of Creation or Publ. (Hamnet)
false
Physical Description (Hamnet):
1 painting on panel, irregular : oil ; 55.9 x 43.4 cm.
bib_physicaldescription
1 painting on panel, irregular : oil ; 55.9 x 43.4 cm.
Physical Description (Hamnet)
false
Subject (Hamnet):
Shakespeare, William, 1564-1616 -- Portraits.
bib_subject
Shakespeare, William, 1564-1616 -- Portraits.
Subject (Hamnet)
false
Subject (Hamnet):
Portrait paintings. gmgpc
bib_subject
Portrait paintings. gmgpc
Subject (Hamnet)
false
Associated Name (Hamnet):
Curzon, Penn Assheton, former owner.
bib_associated_name
Curzon, Penn Assheton, former owner.
Associated Name (Hamnet)
false
Associated Name (Hamnet):
Hamilton, Duke of, d. 1819, former owner.
bib_associated_name
Hamilton, Duke of, d. 1819, former owner.
Associated Name (Hamnet)
false
Associated Name (Hamnet):
Jennens, Charles, 1700-1773, former owner.
bib_associated_name
Jennens, Charles, 1700-1773, former owner.
Associated Name (Hamnet)
false
Associated Name (Hamnet):
Ramsden, Guendolen, Lady, 1846-1910, former owner.
bib_associated_name
Ramsden, Guendolen, Lady, 1846-1910, former owner.
Associated Name (Hamnet)
false
Associated Name (Hamnet):
Ramsden, John, Sir, former owner.
bib_associated_name
Ramsden, John, Sir, former owner.
Associated Name (Hamnet)
false
Associated Name (Hamnet):
Somerset, 11th duke of, wife of, former owner.
bib_associated_name
Somerset, 11th duke of, wife of, former owner.
Associated Name (Hamnet)
false
Associated Name (Hamnet):
Howe, Lord, former owner.
bib_associated_name
Howe, Lord, former owner.
Associated Name (Hamnet)
false
Associated Name (Hamnet):
Somerset, Edward Adolphus Seymour, Duke of, 1804-1885, former owner.
bib_associated_name
Somerset, Edward Adolphus Seymour, Duke of, 1804-1885, former owner.
Associated Name (Hamnet)
false
Notes (Hamnet):
Since its reappearance in 1770, this picture has most frequently been referred to as the Janssen Portrait of Shakespeare. Other titles it has borne are the Jennens Portrait of Shakespeare, the Ut Magus Portrait, the Hamilton, the Rupert, the Somerset, the Balstrode, and the Ramsden.
bib_object_notes
Since its reappearance in 1770, this picture has most frequently been referred to as the Janssen Portrait of Shakespeare. Other titles it has borne are the Jennens Portrait of Shakespeare, the Ut Magus Portrait, the Hamilton, the Rupert, the Somerset, the Balstrode, and the Ramsden.
Notes (Hamnet)
false
Notes (Hamnet):
Probably Sir Thomas Overbury.
bib_object_notes
Probably Sir Thomas Overbury.
Notes (Hamnet)
false
Notes (Hamnet):
Condition reviewed 19320000 painting was damaged when it was shipped from England, a small nail in the frame scrapping the bottom edge of the paint surface in an area of about 3/4 inch
bib_object_notes
Condition reviewed 19320000 painting was damaged when it was shipped from England, a small nail in the frame scrapping the bottom edge of the paint surface in an area of about 3/4 inch
Notes (Hamnet)
false
Notes (Hamnet):
Condition reviewed the panel consists of a single oak plank, apparently cut radially from the tree. At some point prior to 1770 the hairline was raised. The ground is a thin cream-colored gesso. There are two severe vertical cracks. One runs from top to bottom on the right-hand side, passing the sitter's ear and curving gently at the bottom where it borders the sitter's left wing. The second crack is down the middle of the panel passing to the left of the figure's left eye. These cracks were visible early on, as they are commented on by both Boaden in 1824 (p. 194) and Wivell in 1827 (pp. 108-09, n.). There is a third crack that starts at the top, 6 1/2 inches from the left edge, and ends near the right eye. The cradling consists of five vertical battens of irregular widths and spacing and five horizontal battens. Spielmann described it in 1909 as "on panel, very roughly hewn at the back and held together by three strengthening uprights-not a recent addition-and strips of canvas glued against the two cracks" (p. 232)
bib_object_notes
Condition reviewed the panel consists of a single oak plank, apparently cut radially from the tree. At some point prior to 1770 the hairline was raised. The ground is a thin cream-colored gesso. There are two severe vertical cracks. One runs from top to bottom on the right-hand side, passing the sitter's ear and curving gently at the bottom where it borders the sitter's left wing. The second crack is down the middle of the panel passing to the left of the figure's left eye. These cracks were visible early on, as they are commented on by both Boaden in 1824 (p. 194) and Wivell in 1827 (pp. 108-09, n.). There is a third crack that starts at the top, 6 1/2 inches from the left edge, and ends near the right eye. The cradling consists of five vertical battens of irregular widths and spacing and five horizontal battens. Spielmann described it in 1909 as "on panel, very roughly hewn at the back and held together by three strengthening uprights-not a recent addition-and strips of canvas glued against the two cracks" (p. 232)
Notes (Hamnet)
false
Notes (Hamnet):
Conserved 19090000 Spielmann noted the repair of a damage about 2 inches long over the sitter's left eye
bib_object_notes
Conserved 19090000 Spielmann noted the repair of a damage about 2 inches long over the sitter's left eye
Notes (Hamnet)
false
Notes (Hamnet):
Conserved 19880000 original hairline restored
bib_object_notes
Conserved 19880000 original hairline restored
Notes (Hamnet)
false
Notes (Hamnet):
Engravings: See Pressly Catalogue, p. 293.
bib_object_notes
Engravings: See Pressly Catalogue, p. 293.
Notes (Hamnet)
false
Notes (Hamnet):
Exhibited: Mead Art Building, Amherst College, "Shakespeare, Hamlet, and Macbeth" (no catalogue), 1951; 'As imagination bodies forth...' [paintings] Oct. 28, 1994-Feb. 15, 1994.
bib_object_notes
Exhibited: Mead Art Building, Amherst College, "Shakespeare, Hamlet, and Macbeth" (no catalogue), 1951; 'As imagination bodies forth...' [paintings] Oct. 28, 1994-Feb. 15, 1994.
Notes (Hamnet)
false
Notes (Hamnet):
Inscribed in upper left-hand corner: "Æte 46 / 1610." (The two small letters "te" have been misread as "fe," which would mean the painter AE made this work. However, "e" is an abbreviation for "is," and the word represented is "Ætatis." The inscription is executed in oil paint over the dark brown overpaint covering the background. Give the style and costume, the date 1610 may well be correct)
bib_object_notes
Inscribed in upper left-hand corner: "Æte 46 / 1610." (The two small letters "te" have been misread as "fe," which would mean the painter AE made this work. However, "e" is an abbreviation for "is," and the word represented is "Ætatis." The inscription is executed in oil paint over the dark brown overpaint covering the background. Give the style and costume, the date 1610 may well be correct)
Notes (Hamnet)
false
Notes (Hamnet):
This record contains unverified data from a re-keying contract and may contain incorrect or incomplete text. Please consult Curator for assistance.
bib_object_notes
This record contains unverified data from a re-keying contract and may contain incorrect or incomplete text. Please consult Curator for assistance.
Notes (Hamnet)
false
Notes (Hamnet):
Versions: Spielmann lists the chief "copies" as the "Buckston" or "Duke of Kingston," which he believes to be early 18th century; the "Croker"; the "Staunton" (see no. 161); the "Duke of Anhalt," which is stated as having been executed in England in 1763-64; the "Earl of Darnley"; and the "Marsden."
bib_object_notes
Versions: Spielmann lists the chief "copies" as the "Buckston" or "Duke of Kingston," which he believes to be early 18th century; the "Croker"; the "Staunton" (see no. 161); the "Duke of Anhalt," which is stated as having been executed in England in 1763-64; the "Earl of Darnley"; and the "Marsden."
Notes (Hamnet)
false
Notes (Hamnet):
Title from Pressly.
bib_object_notes
Title from Pressly.
Notes (Hamnet)
false
Notes (Hamnet):
Bought from Sawyer, July 1932, £226.9.0.
bib_object_notes
Bought from Sawyer, July 1932, £226.9.0.
Notes (Hamnet)
false
Provenance (Hamnet):
Provenance: Acquired by Charles Jennens of Gopsel, Leicestershire, by 1770; by descent on Jennens's death in 1773 to Penn Assheton Curzon, who had married Jennens's niece; by descent to Lord Howe, Curzon's successor?; purchased by Samuel Woodburn, a picture dealer, for the ninth duke of Hamilton, ca. 1809; at the duke's death in 1819 passed to his daughter, the wife of the eleventh duke of Somerset; by descent to the twelfth duke of Somerset in 1855; by descent to his daughter, Lady Guendolen Ramsden of Bulstrode, Gerrard's Cross, in 1885; by descent to Sir John Ramsden; his sale, Christie, Manson & Woods, Auctioneers, 8 King St., St. James's Square, London, 27-30 May 1932, lot 65.
bib_provenance
Provenance: Acquired by Charles Jennens of Gopsel, Leicestershire, by 1770; by descent on Jennens's death in 1773 to Penn Assheton Curzon, who had married Jennens's niece; by descent to Lord Howe, Curzon's successor?; purchased by Samuel Woodburn, a picture dealer, for the ninth duke of Hamilton, ca. 1809; at the duke's death in 1819 passed to his daughter, the wife of the eleventh duke of Somerset; by descent to the twelfth duke of Somerset in 1855; by descent to his daughter, Lady Guendolen Ramsden of Bulstrode, Gerrard's Cross, in 1885; by descent to Sir John Ramsden; his sale, Christie, Manson & Woods, Auctioneers, 8 King St., St. James's Square, London, 27-30 May 1932, lot 65.
Provenance (Hamnet)
false
Citations (Hamnet):
Pressly, W.L. Paintings in the Folger Shakespeare Library, 160 (Plate 24)
bib_citation
Pressly, W.L. Paintings in the Folger Shakespeare Library, 160 (Plate 24)
Citations (Hamnet)
false