2
10
196
-
https://embta.english.ucsb.edu/files/original/f9474652cb317c40f2ab986bf2c65ab9.jpg
5c2ec30568933f6469ab70faed2a86a6
Hyperlink
Title, URL, Description or annotation.
URL
http://www.andersonportfolio.com/mof.htm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scene Design for <em>Man of Mode</em>
Subject
The topic of the resource
Etherege, George, 1636-1691 or 1692. Plays
Stage setting and scenery
Description
An account of the resource
Scene design from University of Florida's recent production of <em>Man of Mode</em>.
Creator
An entity primarily responsible for making the resource
Anderson, Glen [scene designer]
Source
A related resource from which the described resource is derived
<a title="Glen Anderson Scenic Designer" href="http://www.andersonportfolio.com/mof.htm" target="_blank">Glen Anderson Scenic Designer</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
Contributor
An entity responsible for making contributions to the resource
Pinkney, Mikell [director]
Perry, Charles [lighting]
Pufall, Darrin [costumes]
Format
The file format, physical medium, or dimensions of the resource
Hyperlink
Language
A language of the resource
English
Type
The nature or genre of the resource
Website
Identifier
An unambiguous reference to the resource within a given context
embta2013-00091
Rights
Information about rights held in and over the resource
EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above.
female stance and gesture
male stance and gesture
-
https://embta.english.ucsb.edu/files/original/c87213a60a3d9b5d88c24cce9ddc14ae.jpg
ed6b4438ef5974ded5d353810b8845ef
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Text
Any textual data included in the document.
Engrav'd for the Lady's Mag.
Mrs. Cibber in the Character of Imoinda in Oroonoko
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Engraving
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mrs Cibber in the character of Imoinda in Oroonoko
Subject
The topic of the resource
Southerne, Thomas. Oroonoko, a tragedy
Race in the theater
Description
An account of the resource
Full-length portrait of Susannah Cibber in the role of Imoinda. She looks to the right with both hands outstretched in front of her. She wears a frilled cap with a trailing scarf on her wrist and a heavy gown adorned with tassels from her waist.
Source
A related resource from which the described resource is derived
Lady's Magazine
Publisher
An entity responsible for making the resource available
<a title="The Victoria and Albert Museum" href="http://collections.vam.ac.uk/item/O1257294/mrs-cibber-in-the-character-print-unknown/">The Victoria and Albert Museum</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
1760?
Contributor
An entity responsible for making contributions to the resource
Behn, Aphra, 1640-1689. Oroonoko
Rights
Information about rights held in and over the resource
EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above.
Format
The file format, physical medium, or dimensions of the resource
JPG
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Creator
An entity primarily responsible for making the resource
Anonymous
Identifier
An unambiguous reference to the resource within a given context
embta2015-00173
female stance and gesture
White Imoinda
-
https://embta.english.ucsb.edu/files/original/f4bbf83bf61aeb5cd6094b7d660be8c5.jpg
bf5eb2dce86433abd520305a4b64fe35
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Glazed earthenware
Physical Dimensions
The actual physical size of the original image.
Height: 15.1 cm, Width: 11.7 cm at widest point, Depth: 0.7 cm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Prattware Plaque: Othello and Desdemona
Subject
The topic of the resource
Shakespeare, William, 1564-1616. Othello
Creator
An entity primarily responsible for making the resource
Artist Unknown
Source
A related resource from which the described resource is derived
<a href="http://collections.vam.ac.uk/item/O125950/eddison-collection-plaque-unknown/">The Victoria and Albert Museum</a>
Publisher
An entity responsible for making the resource available
<a href="http://collections.vam.ac.uk/item/O125950/eddison-collection-plaque-unknown/">The Victoria and Albert Museum</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
1790-1810
Rights
Information about rights held in and over the resource
EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above.
Format
The file format, physical medium, or dimensions of the resource
JPEG
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
embta2015-00179
-
https://embta.english.ucsb.edu/files/original/891a178188add16601b4afc54bf4bd1a.jpg
0459a9e4131f1776c2c1161b664bd23e
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Engraving
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mr. Savigny in the Character of Oroonoko
Subject
The topic of the resource
Southerne, Thomas. Oroonoko, a tragedy
Savigny, J. (John)
Race in the theater
Hawkesworth, John, 1715?-1773
Description
An account of the resource
Savigny as Oroonoko in blackface, wearing elaborate cape, frock coat, and britches, holds knife close to Imoinda. Imoinda wears a veil, beauty mark, and a frock with petticoat. She holds out her hand to him and he is turned away from her. Setting is the forest.
Creator
An entity primarily responsible for making the resource
Barralet, John James, ca. 1747-1815
Grignion, Charles, 1721-1810
Source
A related resource from which the described resource is derived
<a title="The Victoria and Albert Museum" href="http://collections.vam.ac.uk/item/O1263868/mr-savigny-in-the-character-print-barralet/" target="_blank">The Victoria and Albert Museum</a>
Publisher
An entity responsible for making the resource available
Published Novr. 23 1776 by T. Lowndes & Partners
Date
A point or period of time associated with an event in the lifecycle of the resource
1776-11-23
Rights
Information about rights held in and over the resource
Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107).
If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner.
If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com.
Format
The file format, physical medium, or dimensions of the resource
JPG
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
embta2014-00002
Contributor
An entity responsible for making contributions to the resource
Behn, Aphra, 1640-1689. Oroonoko
Blackface
male stance and gesture
-
https://embta.english.ucsb.edu/files/original/387dcafa5314016fe936a788a1ac2591.png
940ebbf656bcae5d4f94282e187573d9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Richard III
Subject
The topic of the resource
By William Shakespeare
Description
An account of the resource
A multimedia exploration of educational tools relating to Shakespeare's "Richard III"
Creator
An entity primarily responsible for making the resource
Juliet Way-Henthorne
Date
A point or period of time associated with an event in the lifecycle of the resource
2017
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Physical Mutilation, Vengeance, and Technological Advancement in Shakespeare’s “Richard III”
William Shakespeare’s “Richard III” offers one of literature’s greatest villains with the ingenious, scheming Richard, Duke of Gloucester, whose treachery and plotting leads to the downfall of the House of York in the wake of the War of the Roses. Indeed, it is Richard’s intelligence, skillful manipulation, and playful interaction with the audience that has led this tragedy to endure the test of time, as it continues to influence popular culture even today through multiple adaptations, as well as inspiring characters like the nefarious Francis Underwood (ironically played by Academy Award winning actor Kevin Spacey) in the Netflix hit series, "House of Cards," which demonstrates the lasting power of Shakespeare’s works over mass media. However, beyond Richard’s ability to skillfully manipulate the human pawns in his grand schemes, his motivation stems from his physical deformity, which is depicted in a number of items associated with Shakespeare’s “Richard III,” as well as complementing a collection of multimedia tools that reflect the continuing impact of such a widely referenced work.
Beginning with a ceramic sculpture of famed actor David Garrick (1717-1779) as Richard III (dated 1772), this collection provides a carefully crafted representation of the evolution of Richard III as the character relates to each era of his existence. In this sculpture of Garrick as Richard during battle, an excess of color is used, depicting an elaborately dressed Richard who, while skilled in games of the mind, is not skilled in games of war. With flushed cheeks and a limping leg representing the physical deformity that Richard describes as his being “cheated of feature by dissembling nature,” the villain seems hugely out of place on the battlefield (1.1.19)
Similarly, in a later piece simply called “Richard III figurine” (which is also owned by the Victoria & Albert Museum and dated 1880), Richard again appears apprehensive, elaborately clothed in a flamboyant costume befitting the court, with a dagger tucked into his belt. Additionally, Richard’s deformity is represented through a limping leg which, when paired with a hunched back, serves as the primary motive for his villainy:
“Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to see my shadow in the sun
And descant on mine own deformity.
And therefore, since I cannot prove a lover
To entertain these fair well-spoken days,
I am determinèd to prove a villain
And hate the idle pleasures of these days” (1.1.24-31).
In these lines, audiences are able to gain an understanding of the impetus behind Richard’s evil acts; he feels that he has been neglected by nature and, therefore, reasons that he too may behave in unnatural ways, which encapsulates audiences’ fascination with darkness, deformity, and the desire for revenge. A final depiction of Richard’s physical form can be found in The Victoria and Albert Museum’s “Edmund Kean as Richard in Richard III by William Shakespeare,” which, through oil painting, again captures the Duke’s deformity through unusual posture and a bulging back, which is partially obscured by ornate, jeweled cloaks. Through these physical depictions of Richard III, an intense interest in his physical mutation is demonstrated, adding to the magnetism of such a physically and emotionally complex character.
Interestingly, this collection offers two sketches that incorporate elements of the Elizabethan stage, depicting the ways in which actors might move about the space to the greatest advantage. Simply titled “Richard III drawing," this first sketch by Henry Fuseli depicts Richard as he sleeps during the eve of the great final battle while the spirits of all who he has wronged hover about him. The set is described as illustrating the “spirits rising by his side in pairs, and passing beyond his feet towards an opening in the centre of the tent” (V&A). So, while this piece depicts both scene and emotion during a pivotal moment in the play, it also portrays the practicality of the Elizabethan set. Contrastingly, the “Morris Kestelman set design for Richard III” appears without characters and illustrates the Old Vic Theatre Company's production of “Richard III” at the New Theatre, London, in September 1944, demonstrating the value of careful stage management even beyond the Elizabethan stage, as the billowing tents create an eerie sense of pre-war anxiety. Further, technological advancements allowed set designers to utilize lighting in order to illustrate restlessness and breathe a sense of life into an otherwise vacant set. Interestingly, Morris Kestelman also drew a costume sketch of iconic theatre actress Vivien Leigh, who played opposite her husband, Sir Laurence Olivier, as Lady Anne for many years. Though Vivien Leigh was an incredibly significant figure both on stage and in film, this sketch is particularly significant because it offers the only publicly available depiction of a female character from “Richard III.”
As media has evolved, so too have the ways in which audiences interact with “Richard III,” as well as all of Shakespeare’s plays. However, “Richard III” is, in itself, exceptional because the villain is so terrible -- committing multiple murders with a seemingly sound and cunning mind -- that actors through the ages have continued to prize this role. Beginning with The Old Vic Theatre Company in their first American radio appearance performing “Richard III” (starring Laurence Olivier), various forms of new media rose to enhance the audience’s experience with the play. With a dramatic reading, Olivier delivers an iconic performance that not only highlights the advancements in recording technology, but also proves that seemingly dated yet classic texts like those of William Shakespeare can still be accessed by a wider and perhaps less literarily inclined audience. In other words, forms of new media that carefully treat the works of Shakespeare serve as valuable educational tools, ultimately garnering a wider and more intrigued audience. Indeed, a high quality translation of Shakespeare’s “Richard III” is made freely available through public access via Folger Digital texts, making such tools of education more accessible and allowing readers to examine the play in a different manner; with the aid of a computer, particular words can be searched in order to trace themes, characters, or even to perform close readings with ease. And if a reader is inclined to dig even deeper, the application of digital humanities tools can be used to conduct distant readings through data mining and text analysis, which is only made possible through the simple transfer of PDF files like those offered by Folger Digital texts.
With regard to the contemporary significance of the play in popular culture, the role of Richard III remains so iconic that only some of the finest contemporary actors have been given the opportunity to play the villainous lead. The most notable of these actors -- Sir Laurence Olivier, Sir Ian McKellen, and Benedict Cumberbatch -- each offer a unique portrayal of Richard III, ranging from classic to modern interpretations that all preserve the essence of such an unusual villain marked by physical deformity and emotional disturbance, which lead to a twisted desire for vengeance and power. Moreover, with regard to animation, “Shakespeare’s The Animated Tales” provides high quality, condensed versions of Shakespeare’s works that, despite being abridged, cover all major plot points and help to preserve the spirit of the Shakespearean theatre while accessing a younger audience. Specifically, animation allows the darker undertones of the text to visually come to life, presenting the ways in which the application of popular media can enhance the lifespan of canonical works. To conclude, the most exciting aspect of the play’s preservation and even evolution is the fact that through modern technology, students, educators, and fans are able to access key scenes through YouTube and other publicly available media, marking this collection of artifacts relating to “Richard III” as both all-encompassing and a true representation of the ways in which an almost four-hundred-year-old text can be reinvented and given new life and meaning while still treating the original masterpiece with integrity and respect.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Richard III (Benedict Cumberbatch) dreams of the throne - The Hollow Crown: Episode 2 - BBC
Subject
The topic of the resource
Shakespeare, William 1564-1616. Richard III.
Creator
An entity primarily responsible for making the resource
BBC
Rights
Information about rights held in and over the resource
EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this item. If you are interested in reproducing this item, please contact the copyright holder named in the “Publisher” field above.
Relation
A related resource
A BBC depiction of Oscar nominated Benedict Cumberbatch as Richard III.
Source
A related resource from which the described resource is derived
<a href="https://www.youtube.com/watch?v=51Ji5DOIwDw">link to item here</a>
Publisher
An entity responsible for making the resource available
YouTube
Description
An account of the resource
A BBC interpretation of Benedict Cumberbatch as Richard III as he speaks of his desire for the throne.
Date
A point or period of time associated with an event in the lifecycle of the resource
May 13, 2016
Type
The nature or genre of the resource
Video
actor
battlefield
celebrity
character depiction
media
war
-
https://embta.english.ucsb.edu/files/original/6daad22b014ce874d431ad9b706b9f04.jpg
7ac866bd259599307f95d1aa05f9a290
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mrs. Siddons with the Emblems of Tragedy
Subject
The topic of the resource
Siddons, Sarah, 1755-1831
Actresses--Portraits
English drama--18th century
Description
An account of the resource
Actress Sarah Siddons is pictured holding a tragic mask and a dagger beside a monument to Shakespeare. Resting at the top right of the monument is a comic mask. <br /><br />For further description see <a title="NPG" href="http://www.npg.org.uk/collections/search/portrait/mw05799/Sarah-Siddons-ne-Kemble-Mrs-Siddons-with-the-Emblems-of-Tragedy?#description" target="_blank">NPG</a>.
Creator
An entity primarily responsible for making the resource
Beechey, William, Sir, 1753-1839
Source
A related resource from which the described resource is derived
National Portrait Gallery
Date
A point or period of time associated with an event in the lifecycle of the resource
1793
Rights
Information about rights held in and over the resource
Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107).
If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner.
If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com.
Format
The file format, physical medium, or dimensions of the resource
JPG
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
embta2013-00036
-
https://embta.english.ucsb.edu/files/original/3cd98ca7b9697a19aa21e1e11d81ed2d.pdf
54335a7dc5d37409ece3c631cfff33a8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Rover: or, The Banish'd Cavaliers.
Subject
The topic of the resource
Behn, Aphra, 1640-1689. Plays. Selections
Description
An account of the resource
Cast list and first page from the first printed edition of The Rover (1677).
Creator
An entity primarily responsible for making the resource
Behn, Aphra, 1640-1689
Source
A related resource from which the described resource is derived
<a href="http://eebo.chadwyck.com.proxy.library.ucsb.edu:2048/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=13174490&FILE=../session/1378258995_29424&SEARCHSCREEN=CITATIONS&VID=98343&PAGENO=3&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD=">Early English Books Online</a>
Identifier
An unambiguous reference to the resource within a given context
embta2013-00116
Rights
Information about rights held in and over the resource
Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107).
If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner.
If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com.
-
https://embta.english.ucsb.edu/files/original/2dadcaa10e87f7fc5dd3968396dffdd2.jpg
d02271a0cef78d1086d83084af9a70bf
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Enamel on copper, Oval, 153mm
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Thomas Otway
Subject
The topic of the resource
Otway, Thomas, 1652-1685
Description
An account of the resource
Half-length portrait of Thomas Otway from the Romantic era
Creator
An entity primarily responsible for making the resource
Bone, Henry Pierce
Source
A related resource from which the described resource is derived
<a href="http://www.historicalportraits.com/Gallery.asp?Page=Item&ItemID=1498&Desc=Portrait-of-Thomas-Otway-(1652-1685)-%7C-Henry-Pierce-Bone-">Historical Portraits Image Library</a>
Publisher
An entity responsible for making the resource available
<a href="http://www.historicalportraits.com/Gallery.asp?Page=Item&ItemID=1498&Desc=Portrait-of-Thomas-Otway-(1652-1685)-%7C-Henry-Pierce-Bone-">Historical Portraits Image Library</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
1800/1850?
Format
The file format, physical medium, or dimensions of the resource
JPG
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
embta2013-00059
Rights
Information about rights held in and over the resource
EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above.
-
https://embta.english.ucsb.edu/files/original/53832071650a3e275f3955cb9958c35d.jpg
129138b42ac92742a5dabd84d6f2e588
https://embta.english.ucsb.edu/files/original/25104253d533d87231fffc433dae82b8.jpg
4ddf2d7c5c576f3aab54d0d8204f7286
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
View of the Cittye of London from the North towards the South
Subject
The topic of the resource
England--Social life and customs--16th century
Theatre (Shoreditch, London, England)
Theater--England--History--16th century
Description
An account of the resource
This view of London, from a hillside in present day Islington, provides a rare glimpse at life in the northern suburbs of London during the late 16th century. In the left-center of the frame stands a polygonal three-story structure with a flag flying from the top of the building. This public playhouse is either the Theatre or the Curtain; there is no general consensus, however, as to which is more likely.
Creator
An entity primarily responsible for making the resource
Booth, Abraham
Publisher
An entity responsible for making the resource available
Wikimedia Commons
Date
A point or period of time associated with an event in the lifecycle of the resource
1577-1598
Format
The file format, physical medium, or dimensions of the resource
JPG
Rights
Information about rights held in and over the resource
EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above.
Elizabethan London
Shoreditch
The Curtain
The Theatre
theater architecture
-
https://embta.english.ucsb.edu/files/original/a3c7da00600031c85409e640620d572b.jpg
77a2b2d484f899188cc5c244f171f9db
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Actress at her Toilet, or Miss Brazen Just Breecht
Subject
The topic of the resource
Breeches parts
Kennedy, Margaret, d. 1793
English satirical print, 1600-1832
Description
An account of the resource
<p>A woman pulls on red breeches, aided by her serving-maid on the left, while a partially-shaved poodle looks on. A pair of stays, a sword, and a playbill sit on a stool; behind them is a dressing table with cosmetics on the right; background includes folding screen and a parrot drinking from a bowl.</p>
See more details from the <a href="http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1641191&partid=1&searchText=an+actress+at+her+toilet&fromADBC=ad&toADBC=ad&numpages=10&orig=%2Fresearch%2Fsearch_the_collection_database.aspx&currentPage=1">British Library</a>
Creator
An entity primarily responsible for making the resource
Bowles, Carington, 1724-1793
Collet, John, 1725?-1780
Source
A related resource from which the described resource is derived
[exhib catalogue for museum show on Resto & 18th c. actresses]
Date
A point or period of time associated with an event in the lifecycle of the resource
1779
Rights
Information about rights held in and over the resource
Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107).
If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner.
If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com.
Format
The file format, physical medium, or dimensions of the resource
jpg
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
embta2013-00006
female stance and gesture
male stance and gesture