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George Eliot, Impressions of Theophrastus Such... , frontispiece with portrait
George Eliot (born Mary Ann Evans) was a local authoress based in the Coventry and Nuneaton district, from 1819-1880.
An original engraving of this portrait is held by the National Portrait Gallery, ...
George Eliot, Impressions of Theophrastus Such..., - portrait
George Eliots' portrait and title page of 'Impressions of Theophrastus Such'.
The watercolour drawing by Caroline Bray, (1814-1905) dates to around 1842. The original is in the collections of the National ...
George Eliot, Impressions of Theophrastus Such..., 1st Edition - title page
George Eliot finished the manuscript in 1878 but it wasn't published until 1879, as she wanted to leave a respectful time between Lewes' death and it's publication. This was her last work before she died.
George ...
George Eliot, a selection of first edition spines.
A selection of first edition spines.
George Eliot (born Mary Ann Evans) was a local authoress based in the Coventry and Nuneaton district, from 1819-1880.
George Eliots' notebook, entitled Greek Philosophy and Locke and Comte - cover
It contains notes on classical texts and miscellaneous notes on astronomy and geology. Click on cover to see a slection...
Page 2 & 3 - Quotations from various philosophers and authors.
Page 14 ...
George Tuberville, The Noble Art of Venerie or Hunting, 1611 - A royal picnic, p.91.
A picnic for Shakespeare's royal patron.
Among the many engravings of huntsmen and their dogs that illustrate Turberville’s book of the chase, is this of the mid-day break for a meal with wine, ...
George Tuberville, The Noble Art of Venerie or Hunting, 1611 - p. 35.
Hunting with dogs as in Shakespeare's plays.
Turberville’s handbook covers the training of dogs for hunting deer or hare. The woodcut illustrations show the kind of hunt Shakespeare would have ...
George Tuberville, The Noble Art of Venerie or Hunting, 1611 - title page.
The care of hunting dogs in Shakespeare's time.
Turberville’s handbook was popular in Queen Elizabeth’s time and was reprinted after James I succeeded her on the English throne. The care ...
Giambattista Geraldi Cinthio, Hecatommithi, 1580 - p.252, of vol 1: colophon
A printer's details on an Italian Shakespeare sourcebook.
The 'colophon', or printer’s note was often placed on the final page of a book on its completion. This, at the end of Hecatommithi, part ...
Giambattista Geraldi Cinthio, Hecatommithi, 1580 - binding
A continental binding contemporary with Shakespeare.
Vellum was occasionally used for decorative bindings, especially on the continent of Europe. This binding, probably from Venice, has neat gilded ...
Giambattista Geraldi Cinthio, Hecatommithi, 1580 - Othello reference, vol.2, p.159.
Othello and Desdemona, Shakespeare’s Italian source.
The Hecatommithi, a collection of prose tales told by travellers sailing from Rome to Marseilles, includes the story of Disdemona [sic] and ...
Giambattista Geraldi Cinthio, Hecatommithi, 1580 - Othello reference, Vol.2, p.159 detail.
A Shakespeare source: The story of Othello.
Novella 7 in the third part of Hecatommithi is the story of an ensign who seeks revenge when his lust for 'Disdimona' is rejected. It was this tale that ...
Giambattista Geraldi Cinthio, Hecatommithi, 1580 - printer's device, title page volume 2, detail.
A printer's device on a Shakespeare Italian sourcebook.
Many of the books to be found on the bookstalls of cosmopolitan Elizabethan London were imported from the printing houses of France, and Italy. ...
Giambattista Geraldi Cinthio, Hecatommithi, 1580 - title page, Vol 2.
A source in Italian for Shakespeare.
It is not known whether Shakespeare ever travelled abroad, but several Italian sources for his plays had no published English translation at the time he was writing. ...
Giovanni Boccaccio, The Decameron, 1620 - book 2 p.13v
Fine printing in Shakespeare's time.
This volume was printed by Isaac Jaggard who worked alongside his father, William, and later inherited the family printing house. Isaac’s fine edition of ...
Giovanni Boccaccio, The Decameron, 1620 - book 2, p.112r detail
Fine printing in Shakespeare's time.
The engravings in Jaggard’s edition of Boccaccio do not illustrate the individual stories, but were used to decorate title page and then, possibly to save ...
Giovanni Boccaccio, The Decameron, 1620 - Book 2, p.112r.
A ribald tale in a Shakespeare sourcebook
Shakespeare’s wide range of reading gave him a knowledge of many Italian writers and their work that he might potentially use in his plays, or poems. ...
Giovanni Boccaccio, The Decameron, 1620 -Book 2, title page
A Shakespeare source translated into English.
The two volumes of the Decameron in the English translation by John Florio came from the workshop of the same printer, Isaac Jaggard, who was responsible ...