184:, an authority on Shakespeare portraits, explaining the circumstances in which he claimed to have found it. According to Kingston, "a friend in London sent me word that he had seen a portrait of Shakespeare, that he was positive it was a genuine picture, and that the owner only valued it as being a very fine painting. Being too poor to purchase it himself, he advised me by all means to have it." He immediately purchased it. Kingston told Wivell that the design on the book held in the subject's hand was a combination of "the crest of the Shakespeare family and the tragic mask". After examining the work, Wivell enthusiastically endorsed it.
165:
1161:
188:
40:
346:
Yeandle who, on the basis of this drawing, linked the image of the sketch conclusively to the armorial coat of
Hamersley. The restorative work also clarified the date, which had been tampered with to yield the year 1611 (when Shakespeare was 47). Beneath the second 1 of that date a 2 is clearly visible, indicating it was executed in 1612, 8 years after Oxford's death, when Hamersley was 47 years old. Above the date is written
416:, who had given Barrell permission to photograph the paintings, had told him that Barrell had come in a few days later with only a plain photograph: 'When he held this up to a light, a coat-of-arms appeared, but it also appeared that Barrell had drawn the arms on the back of the print. He explained that he didn't want to show the X-ray pictures. What was Adams to think but that the whole thing was a fraud?'"
267:
333:
E. Dawson, the curator of Books and
Manuscripts for the Folger Shakespeare Library in Washington, D.C for suggesting in a letter that Barrell had doctored his x-ray pictures. Though Barrell had promised to supply the Folger library with copies of the photographs he had commissioned, he never did so, and their present whereabouts are unknown. Folger director
286:'s theory that the works of Shakespeare were written by de Vere, the 17th Earl of Oxford. He argued that the features of the man in the Ashbourne portrait corresponded to those of de Vere and that the costume suggested a date earlier than 1611. He believed that the portrait dated from 1597, but had later been retouched as part of "an elaborate plot".
309:, and proved what Allen had suspected, namely that the painting had indeed been tampered with. He supported Allen's conclusion that it was a retouched portrait of Edward de Vere. On the basis of what was taken to be the artist's monogram, C.K., beneath a coat of arms, he concluded that the portrait was the work of
332:
by
Stephen S. Pichetto. These failed to reveal a "C. K." beneath the coat of arms. It is conjectured that if they were there, they probably stood for "Clement Kingston", the original owner who profited from the "discovery" of a new portrait ostensibly depicting Shakespeare. In 1948 Barrell sued Giles
210:
devoted two articles to a critical analysis of the portrait, with regard to provenance, attribution and identification. He dismissed
Kingston's claim that the Shakespeare "family crest" could be seen on the book. He also rejected a suggestion that the subject was portrayed in the character of Hamlet.
361:
The identity of the sitter is, however, still believed to be de Vere by some
Oxfordians. Oxfordian Barbara Burris published articles arguing that the Folger had deliberately erased the CK monogram and "that the fashions the sitter wears in the painting date to about 1580, when Hamersley would have
345:
In 1979, the Folger commissioned Peter
Michaels to restore the portrait. In removing the overpaint, he uncovered the coat of arms, and his assistant Lisa Oehrl made a sketch of it, unaware of the sitter's identity. It was Lilly Lievsay, Folger cataloguer of manuscripts, and Folger curator Laetitia
140:
and to conform to 19th century ideas of
Shakespeare. The hair over the forehead was scraped out and painted over to create a bald patch. It was also lengthened at the sides, an appearance associated with Shakespeare. The date was also altered to fit Shakespeare's age. The coat of arms was painted
249:
William
Pressly, who catalogued the Folger's paintings, and directed the 1988 restoration of the work, states that the controversy surrounding the sitter's identity was resolved in 1979, when restorative work on the painting revealed conclusively that it had been begun as a portrait of
324:
Barrell's identification received wide exposure, and caused a sensation. Barrell believed he had proven that there was literally a cover-up, a conspiracy to conceal the identity of the Edward de Vere he believed to be the real author of
Shakespeare's works.
254:. The Folger Library dates the painting to 1612, and while stating that most researchers identify the painting's subject as Sir Hugh Hamersley, notes that some Oxfordians contend it depicts Edward de Vere. It currently hangs in the
1084:
211:
He concluded that the aristocratic nature of the portrait did not conform to
Shakespeare's status as a playwright, and that the painting's historical subject was a mystery. However, he accepted that Shakespeare
353:
The original alterations to the Hamersley painting, to make it look like what people would expect of a portrait of Shakespeare, is thought to be the handiwork of Clement Kingston, who was also a painter. Some
1077:
350:(aged 47). He had not, at that time, been granted his coat of arms, and art historian William Pressly conjectures that they were either included in anticipation of the honour, or painted in later.
804:(1940). "Identifying Shakespeare: Science in the Shape of Infra-red Photography and the X rays Brings to Light at Last the real Man Beneath the Surface of a Series of Paintings of the Bard".
1070:
939:
412:
Pressly writes: "Barrell never did supply the Folger with a set of the photographs he had commissioned. Later, in a manuscript of 1979, Dawson recalled that the Folger's director,
152:
and that this was evidence that Oxford was the true author of Shakespeare's plays. In 1979 the coat of arms was rediscovered following restoration. It was identified as that of
1201:
173:
1196:
125:
in the 19th century within the first forty years of its existence; the Ashbourne portrait was one of these. The portrait is now a part of the collection of the
355:
313:, who had been active in England and had reportedly done one of Oxford's portraits. He also suggested that the coat of arms belonged to Oxford's wife,
1259:
1206:
1269:
1180:
314:
929:
1274:
238:
164:
149:
1233:
1175:
1049:
872:
382:"Michaels, in removing much of the overpaint, exposed the coat of arms, making it possible for the first time to identify the sitter
122:
1023:
918:
1220:
136:
The identity of the artist is unknown. At some point the portrait was altered to cater to public demand for more pictures of the
1254:
1160:
1264:
1228:
1015:
966:
910:
843:
255:
231:
126:
101:
1102:
400:
334:
200:
187:
39:
1062:
337:, according to Dawson, also believed Barrell had tampered with his evidence. The suit was dismissed in 1950.
329:
801:
290:
270:
Percy Allen argued that this portrait of Edward de Vere matched the physiognomy of the Ashbourne portrait.
242:
191:
19th-century print based on the Ashbourne portrait, when the sitter was presumed to be William Shakespeare
145:
1011:
957:
306:
177:
141:
over. In this form the painting bore the date 1611 and purported to show Shakespeare at the age of 47.
358:, though disappointed, quickly accepted the results, and claimed partial credit for the new findings.
890:
785:
753:
275:
222:
in 1928, and sold for £1,000 ($ 5,000) to Eustace Conway, an American lawyer, who in turn sold it to
172:
It was first brought to light by Clement Usill Kingston in 1847. Kingston was a schoolmaster at the
1094:
806:
413:
227:
118:
1115:
994:
978:
934:
955:
Pressly, William L. (1993). "The Ashbourne Portrait of Shakespeare: Through the Looking Glass".
1045:
1019:
986:
914:
893:
868:
827:
789:
761:
223:
199:
by G.F. Storm. In this form it was widely reproduced during the 19th century, having entered
1146:
1110:
1041:
1033:
970:
819:
318:
298:
283:
207:
1141:
815:
310:
105:
317:. Ketel had in fact been commissioned in 1577 to paint a series of 19 portraits for the
1136:
882:
839:
251:
246:
181:
153:
130:
17:
1248:
861:
823:
773:
69:
266:
301:, an American follower of Looney's and Allen's views, examined the portrait using
219:
117:
is one of several portraits that have been falsely identified as portrayals of
777:
137:
990:
982:
897:
831:
765:
237:
In 1932, the writer Percy Allen argued that the painting originally depicted
793:
196:
148:
argued on the basis of x-ray evidence that the portrait originally depicted
245:
investigated the portrait using X-rays and concurred with Allen's view.
998:
782:
Talks with Elizabethans: Revealing the Mystery of "William Shakespeare"
974:
907:
Monstrous Adversary: The Life of Edward de Vere, 17th Earl of Oxford
328:
In late 1948/early 1949 a further series of X rays was made at the
302:
265:
186:
163:
362:
been 15 and Oxford 30, and when Ketel was working in England."
294:
1066:
79:
120 cm × 94.6 cm (47 in ×
321:, in which Oxford had invested and lost a large sum of money.
399:
Allen states that the identification was suggested to him by
863:
Dynasties: Painting in Tudor and Jacobean England 1530–1630
648:
646:
44:
The Ashbourne portrait as it now appears after restoration.
1008:
A Catalogue of Paintings in the Folger Shakespeare Library
121:. At least 60 such works had been offered for sale to the
758:
The Life Story of Edward de Vere as "William Shakespeare"
585:
583:
546:
544:
542:
280:
The Life Story of Edward de Vere as "William Shakespeare"
180:, after which the portrait came to be named. He wrote to
517:
515:
930:"A Historic Whodunit: If Shakespeare Didn't, Who Did?"
168:
The portrait as it appeared in G.F. Storm's mezzotint.
909:. Liverpool English texts and studies. Vol. 40.
1219:
1189:
1168:
1124:
1101:
97:
75:
65:
57:
49:
32:
860:
230:in 1931, for the sum of $ 3,500, as a gift to the
1078:
27:Painting falsely claimed to be of Shakespeare
8:
928:Niederkorn, William S. (10 February 2002).
562:
156:(1565–1636), Lord Mayor of London in 1627.
1186:
1121:
1085:
1071:
1063:
736:
176:and amateur painter living in the town of
29:
241:, but had been later retouched. In 1940,
724:
712:
700:
676:
664:
652:
589:
550:
533:
521:
506:
494:
470:
458:
446:
1093:Portraits, sculptures and memorials to
688:
637:
601:
427:
375:
1038:Contested Will: Who Wrote Shakespeare?
625:
613:
574:
390:… to the armorial coat of Hamersley."
7:
482:
434:
239:Edward de Vere, 17th Earl of Oxford
234:, which opened the following year.
150:Edward de Vere, 17th Earl of Oxford
942:from the original on 26 April 2016
201:the canon of Shakespeare portraits
195:It was subsequently reproduced in
25:
1260:Portraits of William Shakespeare
1159:
824:10.1038/scientificamerican0140-5
38:
1270:Shakespeare authorship question
1234:Garrick's Temple to Shakespeare
1176:Shakespeare's funerary monument
386:. … the coat of arms … linked
218:The painting was auctioned at
1:
1181:Heminges and Condell Memorial
887:A Life of William Shakespeare
1006:Pressly, William L. (1993).
262:Allen and Barrell's theories
1229:Boydell Shakespeare Gallery
282:. Allen was a supporter of
215:be the portrait's subject.
1291:
1275:Folger Shakespeare Library
1016:Folger Shakespeare Library
967:Folger Shakespeare Library
911:Liverpool University Press
859:Hearn, Karen, ed. (1995).
844:Folger Shakespeare Library
256:Folger Shakespeare Library
232:Folger Shakespeare Library
127:Folger Shakespeare Library
102:Folger Shakespeare Library
1157:
123:National Portrait Gallery
37:
1202:Leicester Square, London
905:Nelson, Alan H. (2003).
840:"The Ashbourne portrait"
299:Western Electric Company
261:
802:Barrell, Charles Wisner
330:National Gallery of Art
293:, a former director of
1255:17th-century portraits
1197:Central Park, New York
291:Charles Wisner Barrell
271:
243:Charles Wisner Barrell
192:
169:
146:Charles Wisner Barrell
18:The Ashbourne portrait
1012:Yale University Press
958:Shakespeare Quarterly
867:. New York: Rizzoli.
760:. London: C. Palmer.
401:Father Vere Beauclerk
307:infra-red photography
269:
190:
178:Ashbourne, Derbyshire
167:
891:Smith, Elder and Co.
366:Notes and references
1265:William Shakespeare
1095:William Shakespeare
807:Scientific American
414:Joseph Quincy Adams
335:Joseph Quincy Adams
228:Emily Jordan Folger
119:William Shakespeare
1132:Ashbourne portrait
1116:Droeshout portrait
935:The New York Times
640:, pp. 219–20.
577:, pp. 319–28.
315:Elizabeth Trentham
272:
252:Sir Hugh Hamersley
193:
170:
115:Ashbourne portrait
33:Ashbourne portrait
1242:
1241:
1215:
1214:
1155:
1154:
1042:Faber & Faber
1034:Shapiro, James S.
788:. London: Rider.
628:, pp. 187–9.
616:, pp. 108–9.
509:, pp. 59–60.
437:, p. 382 n. 291c.
224:Henry Clay Folger
111:
110:
16:(Redirected from
1282:
1187:
1163:
1147:Sanders portrait
1122:
1111:Chandos portrait
1087:
1080:
1073:
1064:
1055:
1029:
1002:
951:
949:
947:
924:
901:
878:
866:
855:
853:
851:
835:
797:
769:
740:
734:
728:
722:
716:
710:
704:
703:, pp. 64–5.
698:
692:
686:
680:
674:
668:
662:
656:
655:, pp. 61–2.
650:
641:
635:
629:
623:
617:
611:
605:
599:
593:
587:
578:
572:
566:
560:
554:
548:
537:
531:
525:
519:
510:
504:
498:
497:, pp. 56–8.
492:
486:
480:
474:
468:
462:
461:, pp. 54–5.
456:
450:
444:
438:
432:
417:
410:
404:
397:
391:
380:
341:1979 restoration
284:J. Thomas Looney
174:Ashbourne School
92:
91:
87:
84:
42:
30:
21:
1290:
1289:
1285:
1284:
1283:
1281:
1280:
1279:
1245:
1244:
1243:
1238:
1211:
1207:British Library
1185:
1164:
1151:
1142:Flower portrait
1120:
1097:
1091:
1060:
1058:
1052:
1032:
1026:
1005:
975:10.2307/2871172
954:
945:
943:
927:
921:
904:
881:
875:
858:
849:
847:
838:
816:Springer Nature
800:
772:
752:
748:
743:
737:Niederkorn 2002
735:
731:
723:
719:
711:
707:
699:
695:
687:
683:
675:
671:
663:
659:
651:
644:
636:
632:
624:
620:
612:
608:
600:
596:
588:
581:
573:
569:
563:Folgerpedia n.d
561:
557:
549:
540:
532:
528:
520:
513:
505:
501:
493:
489:
481:
477:
469:
465:
457:
453:
445:
441:
433:
429:
425:
420:
411:
407:
398:
394:
381:
377:
373:
368:
348:aetatis suae.47
343:
311:Cornelius Ketel
295:Motion Pictures
264:
162:
106:Washington D.C.
89:
85:
82:
80:
45:
28:
23:
22:
15:
12:
11:
5:
1288:
1286:
1278:
1277:
1272:
1267:
1262:
1257:
1247:
1246:
1240:
1239:
1237:
1236:
1231:
1225:
1223:
1217:
1216:
1213:
1212:
1210:
1209:
1204:
1199:
1193:
1191:
1184:
1183:
1178:
1172:
1170:
1166:
1165:
1158:
1156:
1153:
1152:
1150:
1149:
1144:
1139:
1137:Cobbe portrait
1134:
1128:
1126:
1119:
1118:
1113:
1107:
1105:
1099:
1098:
1092:
1090:
1089:
1082:
1075:
1067:
1057:
1056:
1051:978-0571235766
1050:
1030:
1024:
1003:
952:
925:
919:
902:
879:
874:978-0847819409
873:
856:
836:
798:
774:Dowden, Hester
770:
749:
747:
744:
742:
741:
729:
717:
705:
693:
691:, p. 229.
681:
679:, p. 62 n. 20.
669:
657:
642:
630:
618:
606:
594:
579:
567:
555:
538:
526:
511:
499:
487:
485:, p. 382.
475:
463:
451:
439:
426:
424:
421:
419:
418:
405:
392:
384:with certainty
374:
372:
369:
367:
364:
342:
339:
319:Cathay Company
263:
260:
208:M.H. Spielmann
182:Abraham Wivell
161:
158:
154:Hugh Hamersley
131:Washington, DC
109:
108:
99:
95:
94:
77:
73:
72:
67:
63:
62:
59:
55:
54:
51:
47:
46:
43:
35:
34:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1287:
1276:
1273:
1271:
1268:
1266:
1263:
1261:
1258:
1256:
1253:
1252:
1250:
1235:
1232:
1230:
1227:
1226:
1224:
1222:
1218:
1208:
1205:
1203:
1200:
1198:
1195:
1194:
1192:
1188:
1182:
1179:
1177:
1174:
1173:
1171:
1167:
1162:
1148:
1145:
1143:
1140:
1138:
1135:
1133:
1130:
1129:
1127:
1123:
1117:
1114:
1112:
1109:
1108:
1106:
1104:
1100:
1096:
1088:
1083:
1081:
1076:
1074:
1069:
1068:
1065:
1061:
1053:
1047:
1043:
1039:
1035:
1031:
1027:
1025:9780300052145
1021:
1017:
1013:
1009:
1004:
1000:
996:
992:
988:
984:
980:
976:
972:
968:
964:
960:
959:
953:
941:
937:
936:
931:
926:
922:
920:9780853236788
916:
912:
908:
903:
899:
895:
892:
888:
884:
880:
876:
870:
865:
864:
857:
845:
841:
837:
833:
829:
825:
821:
818:: 4–8, 43–5.
817:
813:
809:
808:
803:
799:
795:
791:
787:
783:
779:
775:
771:
767:
763:
759:
755:
751:
750:
745:
738:
733:
730:
727:, p. 66.
726:
725:Pressly 1993a
721:
718:
715:, p. 69.
714:
713:Pressly 1993a
709:
706:
702:
701:Pressly 1993a
697:
694:
690:
685:
682:
678:
677:Pressly 1993a
673:
670:
667:, p. 61.
666:
665:Pressly 1993a
661:
658:
654:
653:Pressly 1993a
649:
647:
643:
639:
634:
631:
627:
622:
619:
615:
610:
607:
603:
598:
595:
592:, p. 63.
591:
590:Pressly 1993a
586:
584:
580:
576:
571:
568:
564:
559:
556:
553:, p. 64.
552:
551:Pressly 1993a
547:
545:
543:
539:
535:
534:Pressly 1993b
530:
527:
524:, p. 60.
523:
522:Pressly 1993a
518:
516:
512:
508:
507:Pressly 1993a
503:
500:
496:
495:Pressly 1993a
491:
488:
484:
479:
476:
473:, p. 54.
472:
471:Pressly 1993a
467:
464:
460:
459:Pressly 1993a
455:
452:
448:
447:Pressly 1993a
443:
440:
436:
431:
428:
422:
415:
409:
406:
402:
396:
393:
389:
385:
379:
376:
370:
365:
363:
359:
357:
351:
349:
340:
338:
336:
331:
326:
322:
320:
316:
312:
308:
304:
300:
296:
292:
287:
285:
281:
277:
268:
259:
257:
253:
248:
247:Art historian
244:
240:
235:
233:
229:
225:
221:
216:
214:
209:
204:
202:
198:
189:
185:
183:
179:
175:
166:
159:
157:
155:
151:
147:
142:
139:
134:
132:
128:
124:
120:
116:
107:
103:
100:
96:
78:
74:
71:
70:oil on canvas
68:
64:
60:
56:
52:
48:
41:
36:
31:
19:
1131:
1059:
1037:
1007:
962:
956:
944:. Retrieved
933:
906:
886:
862:
848:. Retrieved
811:
805:
786:Allen, Percy
781:
757:
754:Allen, Percy
732:
720:
708:
696:
689:Shapiro 2010
684:
672:
660:
638:Shapiro 2010
633:
621:
609:
602:Barrell 1940
597:
570:
558:
529:
502:
490:
478:
466:
454:
442:
430:
408:
395:
388:conclusively
387:
383:
378:
360:
352:
347:
344:
327:
323:
288:
279:
273:
236:
217:
212:
205:
194:
171:
143:
135:
114:
112:
883:Lee, Sidney
626:Nelson 2003
276:Percy Allen
1249:Categories
1169:Sculptures
889:. London:
614:Hearn 1995
575:Allen 1932
423:References
356:Oxfordians
278:published
226:'s widow,
76:Dimensions
1221:Memorials
1103:Portraits
991:0037-3222
983:1538-3555
969:: 54–72.
898:492113741
832:0036-8733
776:(1947). "
766:715981837
289:In 1940,
274:In 1932,
220:Sotheby's
197:mezzotint
144:In 1940,
93: in)
1125:Disputed
1036:(2010).
940:Archived
885:(1899).
794:20424165
756:(1932).
483:Lee 1899
435:Lee 1899
297:for the
206:In 1910
98:Location
1190:Statues
999:2871172
946:9 April
850:9 April
746:Sources
160:History
88:⁄
53:Unknown
1048:
1022:
997:
989:
981:
917:
896:
871:
830:
792:
778:medium
764:
66:Medium
50:Artist
995:JSTOR
979:eISSN
965:(1).
846:. n.d
814:(1).
784:. By
371:Notes
303:X-ray
213:could
1046:ISBN
1020:ISBN
987:ISSN
948:2017
915:ISBN
894:OCLC
869:ISBN
852:2017
828:ISSN
790:OCLC
762:OCLC
305:and
138:bard
113:The
61:1612
58:Year
971:doi
820:doi
812:162
780:".
203:.
129:in
1251::
1044:.
1040:.
1018:.
1014:/
1010:.
993:.
985:.
977:.
963:44
961:.
938:.
932:.
913:.
842:.
826:.
810:.
645:^
582:^
541:^
514:^
258:.
133:.
104:,
81:37
1086:e
1079:t
1072:v
1054:.
1028:.
1001:.
973::
950:.
923:.
900:.
877:.
854:.
834:.
822::
796:.
768:.
739:.
604:.
565:.
536:.
449:.
403:.
90:4
86:1
83:+
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
