Pesquisando por: "Scene from Act II, of" - Fotoarena - Agência de fotojornalismo

2S2FY7D My Fair Lady programme printed 9/3/62 set on white background - inside page showing Synopsis of Scenes and Musical Numbers continued

2S2FXYM My Fair Lady programme printed 9/3/62 set on white background - inside page showing Synopsis of Scenes and Musical Numbers continued

2YE30EM procession of Cardinal Richelieu. Scene from Marion Delorme, act II, Scene VII from Victor Hugo, by Louis Boulanger (1806 - 1867). House of Victor Hugo, Paris.

2YR2X14 Illustration by Arthur Rackham (1867 – 1939) for the William Shakespeare play King Henry IV, part 2. Falstaff. ' Shadow will serve for summer; prick him'. Act III. Scene II. From The Kingsway Shakespeare, published 1932

2YR2WYT Illustration by Isobel Lilian Gloag (1865–1917) for the William Shakespeare play Love's Labour's Lost. Berowne. ' O! I am yours and all that I possess'. Rosaline. ' All the fool mine?'. Act V. Scene II. From The Kingsway Shakespeare, published 1932

2WR940B Margaret and Ursula are overheard by Beatrice, Act 3, scene 1, from the play written by William Shakespeare: 'Much ado about nothing'., print maker: Pierre Simon (II), after painting by: Matthew William Peters, publisher: John & Josiah Boydell, London, 1790, paper, etching, height 642 mm × width 465 mm, print

2R1DKKE A scene from The Taming of the Shrew, Act III, Scene II, by William Shakespeare. After a print by William Satchwell Leney.

2R0KTK5 Prospero disarming Ferdinand. A scene from William Shakespeare's play The Tempest, Act I, Scene II. From an engraving by Francesco Bartolozzi after the work by Henry William Bunbury

2T9203J Plate 14 (Act V, Scene II), from Othello: Quinze equisses a l'eau forte, 1844, Théodore Chassériau, French, 1819 - 1856, 12 3/8 x 9 3/4 in. (31.43 x 24.77 cm) (image), Etching, engraving and roulette, France, 19th century

2T91MGW Actor Arashi Ryūzō II as Teraoka Heiemon, 1795, 4th lunar month, Katsukawa Shun'ei; Publisher: Iwatoya Kisaburō, Japanese, 1762 - 1819, 15 1/16 × 10 1/8 in. (38.3 × 25.7 cm) (image, sheet, vertical ōban), Woodblock print (nishiki-e); ink and color on paper, Japan, 18th century, Illustrating a scene from act 7 of Chūshingura, this print shows the actor Arashi Ryūzō II in the role of Heiemon performed at Edo's Miyako Theater in the 4th month of 1795. Heiemon is a foot soldier of the late lord Enya. When he finds out that his sister Okaru has accidentally read a letter about the plot to avenge

2T91MH5 Nakamura Noshio II as Tonase, 1795, Katsukawa Shun'ei; Publisher: Enomotoya Kichibei, Japanese, 1762 - 1819, 12 15/16 × 8 7/8 in. (32.8 × 22.5 cm) (image, sheet, aiban), Woodblock print (nishiki-e); ink and color on paper, Japan, 18th century, Illustrating a scene from the Chñshingura play, performed in 1795, this print depicts Nakamura Noshio II in the role of Tonase, the stepmother of Konami and the wife of Kakogawa Honzø. One of only a few female characters in the play, Tonase, although completely fictional, is an extremely important role. She appears in act 8 and act 9 as a caring mother

2JN9PH8 An early old sketch depicting a scene from Le Papillon, Act I, Scene II, first presented by the Paris Opera Ballet at the Salle Le Peletier on November 26, 1860 ---- Un premier croquis représentant une scène du Papillon, Acte I, Scène II. -- Un boceto temprano que representa una escena de Le Papillon, Acto I, Escena II. ----Eine frühe Skizze, die eine Szene aus Le Papillon, Akt I, Szene II darstellt.

2HWJKXD Lancastrian Soldier: “Who’s this? O God! it is my father’s face, whom in this conflict I unawares have kill’d,” from King Henry VI, Part III, Act II, Scene V. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWJKY4 King: “Farewell, young lords; these war-like principles do not throw from you,” from Act II, Scene i, All’s Well That Ends Well. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWJKR3 The Court of the Palace, from Act IV, Scene ii, Two Gentlemen of Verona. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWJKRC Before Justice Shallow’s House in Gloucestershire: Bull Calf, Mouldy, Shadow, Wart, Francis Feeble, from King Henry IV, Part II, act 3, scene 2. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWHN7N Hamlet fait jouer aux comédiens la scène de l’empoisonnement de son père (Act. III Sc. II) (Hamlet Has the Actors Play the Scene of the Poisoning of His Father), from Shakespeare’s Hamlet. Artist: Eugène Delacroix, French, 1798–1863

2HWG9AC Portia: “By my troth, Nerissa, my little body is aweary of this great world,” from Act I, Scene ii, Merchant of Venice. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG99Y Launcelot: “Turn up your right hand, at the next turning,” from Act II, Scene ii, Merchant of Venice. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG79D Petruchio Banters Katharina, from Act II, Scene i, Taming of the Shrew. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG79G Petruchio bears off his bride, from Act III, Scene ii, Taming of the Shrew. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG793 Petruchio, from Act I, Scene ii, Taming of the Shrew. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG77B The torn letter, from Act I, Scene ii, Two Gentlemen of Verona. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG77W Song, from Act III, Scene ii, Merchant of Venice. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG77T Prince of Morocco: “Mislike me not for my complexion,” from Act II, Scene i, Merchant of Venice. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG73D Dull, Sir Nathaniel, Holofernes, from Act IV, Scene ii, Love’s Labour’s Lost. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG71W King: “Fair princess, welcome to the court of Navarre,” from Act II, Scene i, Love’s Labour’s Lost. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG6RC King: “Know’st thou not, Bertram, what she has done for me?”, from Act II, Scene iii, All’s Well That Ends Well. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG6RH Lafeu: “Nay, come your ways,” from Act II, Scene i, All’s Well That Ends Well. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG6PM Parolles: “France is a dog-hole,” from Act II, Scene iii, All’s Well That Ends Well. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG6EY Iachimo Steals from the Trunk - Act II, Scene II, Cymbeline. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG3G6 Sylvia and Valentine, from Act II, Scene i, Two Gentlemen of Verona. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG31W Jaquenetta, from Act I, Scene ii, Love’s Labour’s Lost. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG31J Before the Princess’s Pavilion, from Act V, Scene II, Love’s Labour’s Lost. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG2PK Clown: “I will show myself highly fed and lowly taught,” from Act II, Scene ii, All’s Well That Ends Well. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG10R Gratiano: “My eyes, my lord, can look as swift as yours,” from Act III, Scene ii, Merchant of Venice. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2HWG10C Bassanio: “A gentle stroll; -Fair Lady, by your leave,” from Act III, Scene ii, Merchant of Venice. Artist: Edwin Austin Abbey, American, 1852–1911, M.A. (HON.) 1897

2M5JWY5 Columbus received by the Catholic Monarchs in Barcelona (April 1493). Oil on canvas (111 x 144 cm) by Francisco Garcia Ibañez (b. 1825), 1845. Detail. Army Museum. Toledo, Spain. (On loan from Prado Museum, Spain).

2HJ7MEY New shops and flats (maisonettes) above at Tilgate Parade, Ashdown Drive in the Tilgate area of Crawley ‘New Town’, West Sussex, England, UK in 1966. The neighbourhood, south of the town centre, was one of 14 suburbs developed to create the post-war ‘new town’. The brick-fronted parade has a gentle curved form. After the World War II, in order to relocate those in London’s poor or bombed-out housing, large numbers of people and jobs were moved to new towns around SE England and Crawley was the one of these. This image is from an old amateur colour transparency – a vintage 1960s photograph.

2HJ4HX6 “Act II, Scene 2: Along Train Tracks in America,” from the series The Strange Tale of the Castaways: A Western Kabuki 1879 Adachi Gink? ???? Japanese Gink? depicts a scene from a contemporary Kabuki play—conceived as a flamboyant showcase of all things Western—by the noted playwright Kawatake Mokuami (1816–1893). The central subject, the actor Ichikawa Danj?r? IX, is portraying a Japanese sailor who, after being shipwrecked in the United States, is traveling by train and is attacked by two Native Americans who have derailed the steam locomotive. For Japanese print artists, there was no templat

2HJ2XN9 Moses and Aaron before Pharaoh: An Allegory of the Dinteville Family 1537 Master of the Dinteville Allegory Netherlandish/French In this large, allegorical family portrait, the Dinteville brothers act out a scene from Exodus 7:9. Pleading with Pharaoh to free the Israelites, Aaron (François II de Dinteville) transforms his rod into a serpent, proving that God is with him. Jean de Dinteville is depicted as Moses, while Gaucher and Guillaume stand behind them. The brothers were important members of the court of Francis I, who is represented as Pharaoh. Painted during a critical moment in their r

2HJ20TT 'Yazdigird II Accedes to the Throne', Folio 592r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1530–35 Abu'l Qasim Firdausi The aged shah Bahram Gur named his son Yazdigird II as his successor. Upon the death of his father, Yazdigird called his noblemen together and, seated on the Golden Throne of Iran, exhorted them to act with justice, humanity, and wisdom. The simplicity of this composition, with the king enthroned between two evenly balanced groups of courtiers, is typical of the later phases of production of the Shahnama and of the work of second-generation artists such as Bashdan

2HJ0KPK “Act II, Scene 5: At the Opera in Paris,” from the series The Strange Tale of the Castaways: A Western Kabuki 1879 Adachi Ginkō 安達吟光 Japanese In the late nineteenth century, Japan was awash with recently imported foreign ideas and images that were often understood in a culturally insensitive manner, reflecting racist attitudes in America and Europe of the time, such as the performer shown here in blackface. The play, by the celebrated playwright Kawatake Mokuami (1816–1893), follows the peripatetic journey of a touring troupe of European and American actors.. “Act II, Scene 5: At the Opera in

2HGPA37 Jane Shore: 'Give gentle mistress Shore one gentle kiss the more (Shakespeare, Richard III, Act 3, scene 1) February 1, 1790 Francesco Bartolozzi Italian Intended to portray Edward IV's mistress Jane Shore, this print appeared in 'Shakespeare Illustrated by an Assemblage of Portraits and Views Appropriated to the Whole Suite of our Author's Historical Dramas,' published by Edward and Silveser Harding between 1789 and 1793. The image derives from paintings at Eaton College and Kings College, Cambridge now thought to represent Diane de Poitiers, a lover of the French king Henry II. Lines from 'R

2HGNAM0 Falstaff at Justice Shallow's Mustering His Recruits (Shakespeare, Henry IV, Part II, Act 3, Scene 2) June 1, 1792 William Nelson Gardiner Bunbury's 'Shakespeare' consisted of twenty-prints published between 1792 and 1797, issued periodically in sets of four. The publisher Thomas Macklin was inspired by the success of Boydell's Shakespeare Gallery to open a rival Poets Gallery in 1787. He then commissioned a set of large watercolors from Bunbury of comic Shakesperean subjects with related prints issued by subscription. The artist was the younger son in an old gentry family who had amused fello

2HHR97R Act VIII (Dai hachidanme): Actors Band? Hikosabur? V as Honz?'s Wife (Ny?b?) Tonase and Sawamura Tossh? II as His Daughter (Musume) Konami, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura) 1862 (Bunky? 2), 6th month Utagawa Kuniaki II Japanese. Act VIII (Dai hachidanme): Actors Band? Hikosabur? V as Honz?'s Wife (Ny?b?) Tonase and Sawamura Tossh? II as His Daughter (Musume) Konami, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura). Utagawa Kuniaki II (Japanese, 1835–1888). Japan. 1862 (Bunky? 2), 6th month. Woodblock print; i

2HHR913 Act IX (Dai kudanme): Actors Sawamura Tanosuke III as ?boshi Rikiya and Band? Kamez? I as Kakogawa Honz?, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura) 1862 (Bunky? 2), 6th month Utagawa Kuniaki II Japanese. Act IX (Dai kudanme): Actors Sawamura Tanosuke III as ?boshi Rikiya and Band? Kamez? I as Kakogawa Honz?, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura). Utagawa Kuniaki II (Japanese, 1835–1888). Japan. 1862 (Bunky? 2), 6th month. Woodblock print; ink and color on paper. Edo period (1615–1868). Prints

2HHR912 Act VI (Dai rokudanme): Actors Band? Hikosabur? as Hayano Kanpei and Sawamura Tanosuke as His Wife Okaru, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura) 1862 (Bunky? 2), 6th month Utagawa Kuniaki II Japanese. Act VI (Dai rokudanme): Actors Band? Hikosabur? as Hayano Kanpei and Sawamura Tanosuke as His Wife Okaru, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura). Utagawa Kuniaki II (Japanese, 1835–1888). Japan. 1862 (Bunky? 2), 6th month. Woodblock print; ink and color on paper. Edo period (1615–1868). Prints

2HHR8G4 Act III (Dai sandanme): Actors Band? Hikosabur? V as Hayano Kanpei and Sawamura Tanosuke III as Koshimoto Okaru, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura) 1862 (Bunky? 2), 6th month Utagawa Kuniaki II Japanese. Act III (Dai sandanme): Actors Band? Hikosabur? V as Hayano Kanpei and Sawamura Tanosuke III as Koshimoto Okaru, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura). Utagawa Kuniaki II (Japanese, 1835–1888). Japan. 1862 (Bunky? 2), 6th month. Woodblock print; ink and color on paper. Edo period (1615–1868). Prints

2HHR8E8 Act VII (Dai nanadanme): Actors Kataoka Nizaemon VIII as ?boshi Yuranosuke, Sawamura Tanosuke as Okaru, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura) 1862 (Bunky? 2), 6th month Utagawa Kuniaki II Japanese. Act VII (Dai nanadanme): Actors Kataoka Nizaemon VIII as ?boshi Yuranosuke, Sawamura Tanosuke as Okaru, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura). Utagawa Kuniaki II (Japanese, 1835–1888). Japan. 1862 (Bunky? 2), 6th month. Woodblock print; ink and color on paper. Edo period (1615–1868). Prints

2HHR8AX Act X (Dai j?danme): Actors Kataoka Nizaemon VIII as ?boshi Yuranosuke, Band? Kamez? I as Amakawaya Gihei, and Ichikawa Dannosuke V as His Wife (Ny?b?) Osono, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura) 1862 (Bunky? 2), 6th month Utagawa Kuniaki II Japanese. Act X (Dai j?danme): Actors Kataoka Nizaemon VIII as ?boshi Yuranosuke, Band? Kamez? I as Amakawaya Gihei, and Ichikawa Dannosuke V as His Wife (Ny?b?) Osono, from the series The Storehouse of Loyal Retainers, a Primer (Kanadehon ch?shingura). Utagawa Kuniaki II (Japanese, 1835–1888). Japan. 1862 (Bu

2J07JCT Serie Berühmte Tragödien, Philipp II., von Victor Alfieri, Akt V., letzte Szene, Dolch oder Gift - nun wähle / Series Famous Tragedies, Philip II, by Victor Alfieri, Act V., Last Scene, Dagger or Poison - Now Choose, Liebigbild, digital improved reproduction of a collectible image from the Liebig company, estimated from 1900, pd / digital restaurierte Reproduktion eines Sammelbildes von ca 1900, gemeinfrei

2GBKA6C Prospero, Miranda and Ariel, from 'The Tempest', Act i, Scene ii, anonymous, oil on canvas, c. 1780

2GBK9YA Shylock and Jessica from the 'Merchant of Venice,' Act II, Scene ii by Gilbert Stuart Newton (1795-1835), oil on canvas, 1830

2WB83FP This wide and universal theatre Presents more woeful pageants than the scene Wherein we play in. As You Like It, Act ii. Sc. vii, J. W. NORTH, from A Tribute to the genius of William Shakespeare; being the programme of a performance at Drury Lane Theatre on May 2, 1916, the tercentenary of his death; humbly offered by the players and their fellow-workers in the kindred arts of music & painting MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON 1916

2WB826X This wide and universal theatre Presents more woeful pageants than the scene Wherein we play in. As You Like It, Act ii. Sc. vii, J. W. NORTH, from A Tribute to the genius of William Shakespeare; being the programme of a performance at Drury Lane Theatre on May 2, 1916, the tercentenary of his death; humbly offered by the players and their fellow-workers in the kindred arts of music & painting MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON 1916

2JR21JX ISABEL'S PLEADING (Measure for Measure Act II. Scene 4) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR21JH THE GENTLE KATHERINE (The Taming of the Shrew Act II. Scene l) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR21G7 KING, 'Why, then, young Bertram take her; she's thy wife' (ALL'S WELL THAT ENDS WELL Act II. Scene 3) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR21FW IMOGEN'S BED CHAMBER (Cymbeline Act II. Scene 2) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR21DF ROSALIND AND CELIA IN THE FOREST OF ARDEN (As You Like It Act II. Scene 4) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR21D7 TITANIA SLEEPS (A Midsummer-Night's Dream Act II. Scene 2) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR1WFA ISABEL'S PLEADING (Measure for Measure Act II. Scene 4) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR1WF7 THE GENTLE KATHERINE (The Taming of the Shrew Act II. Scene l) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR1WF6 KING, 'Why, then, young Bertram take her; she's thy wife' (ALL'S WELL THAT ENDS WELL Act II. Scene 3) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR1WF2 IMOGEN'S BED CHAMBER (Cymbeline Act II. Scene 2) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR1WER ROSALIND AND CELIA IN THE FOREST OF ARDEN (As You Like It Act II. Scene 4) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR1WEJ TITANIA SLEEPS (A Midsummer-Night's Dream Act II. Scene 2) from the book ' Tales from Shakespeare ' by William Shakespeare edited by Charles and Mary Lamb Illustrated by Norman M. Price Publisher New York : Scribner ; London : T.C. & E.C. Jack in 1915

2JR1W6M ROMEO AND JULIET. act ii, sc. 2 Spranger Barry and Miss Nossiter as Romeo and Juliet 1759 by R. Pyle from the book ' Shakespeare in pictorial art ' by Salaman, Malcolm Charles, 1855-1940; Holme, Charles, 1848-1923 Publication date 1916 Publisher London, New York [etc.] : 'The Studio' ltd.

2JGHRWB Heigh-ho ! sing Heigh-ho ! unto the green Holly [ As You Like It Act II Scene 7 ] From the book ' Flowers from Shakespeare's garden : a posy from the plays ' Illustrated by Walter Crane, 1845-1915; based on William Shakespeare, 1564-1616 Publication date 1909 Publisher [London] : Cassell & Co., Ltd.

2JGHRTJ If reasons were as plentiful as blackberries [ Henry IV Act II scene 4 ] From the book ' Flowers from Shakespeare's garden : a posy from the plays ' Illustrated by Walter Crane, 1845-1915; based on William Shakespeare, 1564-1616 Publication date 1909 Publisher [London] : Cassell & Co., Ltd.

2JGHRTG Gives not the Hawthorne-bush a sweeter shade [ Henry VI Act II scene 5 ] From the book ' Flowers from Shakespeare's garden : a posy from the plays ' Illustrated by Walter Crane, 1845-1915; based on William Shakespeare, 1564-1616 Publication date 1909 Publisher [London] : Cassell & Co., Ltd.

2JGHRT2 and with Eglantine [ Midsummer Night's Dream Act II Scene I ] From the book ' Flowers from Shakespeare's garden : a posy from the plays ' Illustrated by Walter Crane, 1845-1915; based on William Shakespeare, 1564-1616 Publication date 1909 Publisher [London] : Cassell & Co., Ltd.

2F1N9BF BALLET / OPERA (also described as a PANTOMIME). An 1847 illustration showing a scene from OZAI (Act I Scene II). Ozai was the last ballet of Jean Coralli ( 1779 – 1854) who was a French ballet dancer and choreographer, best known for collaborating with Jules Perrot in creating Giselle in 1841. His penultimate ballet, Eucharis (1844), was a failure, and his last ballet, Ozaï (1847) failed too, being performed only ten times. Coralli retired from his position at the Paris Opera in 1854 and died four years later.

2F1N8JW BALLET- An 19th century engraving showing a scene from LA SYLPHIDE Act II. ---- La Sylphide, also known in Danish as Sylfiden is a romantic ballet in two acts. Two versions are known the original being choreographed by Filippo Taglioni in 1832, and another choreographed by August Bournonville in 1836. Bournonville's (one of the world's oldest surviving ballets) is the only version known to have survived . La Sylphide was the first known ballet where dancing en pointe was used for artistic purposes (rather than as an acrobatic demonstration).

2F1N85F BALLET- An 19th century engraving showing a scene from LA SYLPHIDE Act II. ---- La Sylphide, also known in Danish as Sylfiden is a romantic ballet in two acts. Two versions are known the original being choreographed by Filippo Taglioni in 1832, and another choreographed by August Bournonville in 1836. Bournonville's (one of the world's oldest surviving ballets) is the only version known to have survived . La Sylphide was the first known ballet where dancing en pointe was used for artistic purposes (rather than as an acrobatic demonstration).

2DN9WWJ Cartoon for cotton printing: Scenes from Moliere's 'Le Medecin Malgre Lui', Pen and ink, gray wash, and white heightening on brown paper (mounted), Four vignettes on a patterned ground for the design of a textile illustrate Moliere's comedy, 'Le Medecin Malgre Lui' (The Doctor in Spite of Himself). The scenes shown include: upper left, Sganarelle surprised in a woods by Valére and Lucas (Act I, Scene 6); upper right, Sganarelle, in physician's dress, tells Géronte of his daughter, Lucinda's illness (Act II, Scene 6); lower left: Sganarelle engages Géronte in conversation, while Lucinda escapes

2DJ3TER King Richard II Act IV, Scene I: 'King Richard, Bolingbroke, Yorke, etc.', Benjamin West, 1738–1820, American, active in Britain (from 1763), after Mather Brown, 1761–1831, American, active in Britain, 1803, Engraving, Sheet: 19 9/16 x 24 5/8in. (49.7 x 62.5cm

2DJ37BY Mr. Garrick and Mrs. Pritchard, in the Tragedy of 'Macbeth.' Act II. Scene III., Valentine Green, 1739–1813, British, after Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), 1776, Mezzotint on medium, slightly textured, cream laid paper, Sheet: 18 7/8 x 23 1/4 inches (47.9 x 59.1 cm), Plate: 18 x 21 3/4 inches (45.7 x 55.2 cm), and Image: 16 3/4 x 21 3/4 inches (42.5 x 55.2 cm), actors, buttons, coat, columns, daggers, doors, lightning, literary theme, Macbeth, play by William Shakespeare, man, plays by William Shakespeare, torches, windows, woman

2DJ276R Macbeth, Act I, Scene II, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), 1784, Engraving

2DHY502 Lear, from King Lear, Act III, Scene ii, John Hamilton Mortimer, 1740–1779, British, 1776, Etching, published state on medium, slightly textured, cream wove paper, Sheet: 16 7/8 × 13 11/16 inches (42.9 × 34.8 cm), Plate: 15 13/16 × 12 15/16 inches (40.2 × 32.8 cm), and Image: 13 9/16 × 11 1/4 inches (34.5 × 28.5 cm

2DHY505 Twelve etchings of Characters from Shakespeare: 4) Richard II, from Richard II, Act III, Scene 2 (Catalogue Mortimer Exhibition 1968 - Number 79), John Hamilton Mortimer, 1740–1779, British, 1775, Sheet: 17 1/8 x 13 7/8in. (43.5 x 35.2cm

2DHX27A Prospero, Miranda and Ariel, from 'The Tempest,' Act I, scene ii, Thomas Stothard, 1755–1834, British, ca. 1799, Oil on paper laid on canvas, Support (PTG): 8 1/4 x 10 1/4 inches (21 x 26 cm), babies, children, costume, elderly, fear, frightened, light, literary theme, man, meteorology, science, sorcerer, storm, The Tempest, play by William Shakespeare, theater (discipline), women

2DHWM93 Children Acting the 'Play Scene' from 'Hamlet,' Act II, Scene ii, Charles Hunt, 1803–1877, British, 1863, Oil on canvas, Support (PTG): 18 x 26 inches (45.7 x 66 cm), actors, audience, bottle, boys, chairs, children, costume, curtains, flute, games, gesture, girls, glove, guards (security), Hamlet, play by William Shakespeare, interior, king (person), literary theme, lovers, man, music, musical instruments, observers, parents, play, queen (person), theater (discipline), toys, violin, woman

2CTWWMN angels bearing the immortal part of Faust, act V, Faust II, Johann Wolfgang von Goethe

2CTWWFC angels strewing roses on the body of Faust, act V, Faust II, Johann Wolfgang von Goethe

2CTWW0Y Archbishop, Emperor, act IV, Faust II, Johann Wolfgang von Goethe

2CTWPXA Helen at the palace of Menelaus in Sparta, third act, Faust II, Johann Wolfgang von Goethe

2CTWPN1 Helen's arrival at the palace of Menelaus in Sparta, third act, Faust II, Johann Wolfgang von Goethe

2CTWPCG the sirens of the Aegean sea, second act, Faust II, by Johann Wolfgang von Goethe

2CTWP5Y Faust mounted on centaur Chiron, second act, Faust II, by Johann Wolfgang von Goethe

2CTWNP6 Mephistopheles with Wagner, Homunculus, second act, Faust II, by Johann Wolfgang von Goethe

2CTWNB9 Mephistopheles with Baccalaureus, second act, Faust II, by Johann Wolfgang von Goethe

2CTWN3Y Mephistopheles with Faust, second act, Faust II, by Johann Wolfgang von Goethe

2CTWMNT Helen and Paris, first act, Faust II, by Johann Wolfgang von Goethe

2CTWMAW Faust with Mephistopheles, Faust II, first act, by Johann Wolfgang von Goethe

2CTWKPW Pan and his attendants, Florentine carnival, Faust II, first act, by Johann Wolfgang von Goethe

2CTWKAH Herald, Boy-Charioteer, Florentine carnival, Faust II, first act, by Johann Wolfgang von Goethe

2CTWJYT The Graces, victory, fear, hope and prudence, Florentine carnival, Faust II, first act, by Johann Wolfgang von Goethe

2CTWJJ7 Fishers and bird-catchers, Florentine carnival, Faust II, first act, by Johann Wolfgang von Goethe