From farthest left to right: The Cobbe portrait (1610), The Chandos portrait (early 1600s) and the Droeshout portrait (1622): three of the most prominent of the reputed portraits of William Shakespeare.
No contemporary physical description of William Shakespeare is known to exist. The two portraits of him that are the most famous (both of which may be posthumous) are the engraving that appears on the title-page of the First Folio, published in 1623, and the sculpture that adorns his memorial in Stratford upon Avon, which dates from before 1623. Experts and critics have argued that several other paintings from the period may represent him, and more than 60 portraits purporting to be of Shakespeare were offered for sale to the National Portrait Gallery within four decades of its foundation in 1856, but in none of them has Shakespeare's identity been proven.[1]
There is no concrete evidence that Shakespeare ever commissioned a portrait. However, it is thought that portraits of him did circulate during his lifetime because of a reference to one in the anonymous play Return from Parnassus (c. 1601), in which a character says "O sweet Mr Shakespeare! I'll have his picture in my study at the court."[2]
After his death, as Shakespeare's reputation grew, artists created portraits and narrative paintings depicting him, most of which were based on earlier images, but some of which were purely imaginative. He was also increasingly commemorated in Shakespeare memorial sculptures, initially in Britain, and later elsewhere around the world. At the same time, the clamour for authentic portraits fed a market for fakes and misidentifications.
^Sir Sidney Lee, A Life of William Shakespeare. Smith, Elder and Co., 1899 p. 382 n. 291c.
^David Piper, O Sweet Mr. Shakespeare I'll Have His Picture: The Changing Image of Shakespeare's Person, 1600–1800, National Portrait Gallery, Pergamon Press, 1980.
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