Canadian Shakespeare News


New Yorker article features CASP Research on the Sanders Portrait

An April 28, 2014 essay published in the New Yorker and authored by Adam Gopnik focuses on the Sanders Portrait and CASP Director, Daniel Fischlin, describing the most recent phase of research into the Sanders Portrait of Shakespeare and its origins.

The recent issue of The New Yorker magazine features U of G English professor and University research Chair Daniel Fischlin. In an article entitled “The Poet’s Hand,” Fischlin discusses his work over the past decade to help authenticate the Sanders portrait, believed to be the only one of William Shakespeare painted while the playwright was alive. Fischlin outlines the scientific works that has been conducted to authenticate the painting, as well as efforts to trace family connections between Shakespeare and the ancestors of the portrait’s previous owner, Lloyd Sullivan.
Thought to depict the Bard at age 39, the Sanders portrait was the centrepiece of a months-long exhibit at Guelph’s Macdonald Stewart Art Centre in 2007. It’s also the signature image of U of G’s Canadian Adaptations of Shakespeare Project (CASP), the world’s largest and most complete website about Shakespeare’s cultural influence that was founded by Fischlin. Last fall, U of G hosted an international  symposium at the University of Toronto’s Munk Centre where evidence gathered by experts about the portrait was presented. Read more about the portrait.

 

Shakespeare Portrait, Faculty Make Headlines (April 25, 2014 – In the News)


Conference Explores Origins of Shakespeare Portrait

More than 400 years old, portrait still inspires interest

By Andrew Vowles
Thursday, January 16, 2014

The Sanders portrait of Shakespeare

The Sanders portrait

Daniel Fischlin was hunkered down by the phone in mid-December “waiting for the media feeding frenzy to begin.” News had broken that day of a tentative agreement to buy a Canadian-owned portrait believed to depict William Shakespeare during his lifetime, and the University of Guelph English professor expected to find himself in the middle of the story again.

Under the deal reached in early December, an anonymous Canadian family has agreed to buy the 410-year-old Sanders portrait from its longtime Ottawa owner, according to a Globe and Mail story published Dec. 15.

Some two decades after Lloyd Sullivan began researching the portrait – passed through his family from a distant maternal ancestor contemporary with Shakespeare — evidence continues to mount that the work is the only likeness of the Bard done from life.

Speaking of the tentative sale, Fischlin says, “It’s a very complicated negotiation.”

He says the deal will likely be completed in early 2014; the new owners are expected to donate the portrait to an unnamed public art institution in Canada.

Referring to Sullivan, he says “the owner is very happy, because these buyers understand that this is really a legacy issue and are gearing up to do the right thing.”

That means “bringing the portrait into a public space, ramping up the information about the portrait. Growing that bandwidth is really important. It’s the beginning of a whole other sequence of events that are probably going to be more involved than the work so far.”

Much of that work, including recent research connecting Shakespeare with the Sanders family and other associates from Elizabethan and Jacobean England, has been led by Fischlin and other scholars on both sides of the Atlantic.

Those findings and the earlier detective work into the portrait’s provenance were discussed by experts during a one-day symposium in Toronto last month. Negotiations for the portrait’s sale were still occurring during the event.

The Sanders portrait is believed to depict William Shakespeare at age 39. The painting belongs to Sullivan, an Ottawa engineer. His family has passed it down from John Sanders. Family lore says Sanders was a painter and actor with Shakespeare’s theatre company, the Lord Chamberlain’s Men (later called the King’s Men).

Sullivan inherited the piece from his mother in 1972. Since retiring some 20 years ago, he has researched the painting.

At the Toronto conference, scientists, costume experts, historians, writers and museum curators discussed everything from the doublet worn by the sitter to tests validating the age of the paint, the wood panel and the label affixed to the back of the portrait.

Fischlin’s recent work has involved genealogy and geography in the British Midlands and London and between Canada and England. He is a University Research Chair and founding director of the Canadian Adaptations of Shakespeare Project (CASP), the world’s most comprehensive website about the Bard’s cultural influence.

He and other researchers – notably British genealogist Pam Hinks — have traced Sullivan’s family through 13 unbroken generations and 10 great-grandfathers back to Shakespeare’s lifetime.

They have visited gravesites, uncovered and transcribed historical documents, examined major historical archives in the United Kingdom and interviewed Sullivan’s relatives.

That path has led to a small group of villages in the Midlands and to the part of London where Shakespeare and his acquaintances are known to have lived.

Before moving to London, Shakespeare and Sanders lived in towns about eight miles apart in and around Stratford. So did John Heminges, another company actor and eventually co-editor of the 1623 First Folio of Shakespeare’s works.

By 1603, all three were residents in the capital, living only minutes from each other in adjoining parishes.

Heminges and John Sanders’s son – also John and an early ancestor to Lloyd Sullivan – were both active members of the Grocers’ guild during the early 1600s.

Those connections strengthen the argument that Sanders was close enough to have painted Shakespeare, says Fischlin.

“It would have been impossible for the two men not to have been intimately acquainted with each other, not only because their families came from neighbouring villages in the Midlands, but also because they would have had significantly overlapped business interests.”

Fischlin plans to continue this work, including investigating leads about where artist and sitter met in London.

“We’re very close to identifying the workshop where the painting was painted. We seem to have a member of the Sanders family married into an apprentice from this workshop,” he says.

He adds that “the workshop was well known to the theatre scene in London in that period and also was close physically to where the Sanders and Heminges families and Shakespeare were all living at the time.

“It’s not definitive but it’s very, very promising.”

The Sanders portrait was exhibited at the University of Guelph’s Macdonald Stewart Art Centre for six months in 2007. That year, U of G teamed up with some 30 local arts and culture organizations in more than 50 community programs and activities centred on Shakespeare and the painting.

The portrait is the signature image of CASP. It also appears on new copies of The Tempest and Romeo and Juliet, the first editions of Shakespeare’s works to feature the Sanders likeness on their cover.

Those volumes were published by the Canadian arm of Oxford University Press. Acquisitions editor Jen Rubio credits her late father, Gerald Rubio, an English professor at U of G, for instilling some of Shakespeare’s words during her childhood.

He often borrowed lines from the Bard to suit a particular situation, even if listeners failed to pick up on the reference. Once quoting Hamlet after a restaurant meal, she says, “He later said, ‘The funeral baked meats did coldly furnish forth the marriage tables.’”

Rubio says the genealogical research and information about the Grocers’ guild uncovered by Fischlin and other scholars was new to her. “It’s amazing what research you can do from back in 1603.”

She is convinced that the Sanders portrait is an authentic likeness of Shakespeare. “I don’t see how anybody can read the evidence and think otherwise. I haven’t actually heard a good argument why we should not believe it.”

“It is such a compelling image,” says U of G president Alastair Summerlee. He attended the Toronto symposium and was involved in seeking a buyer for the Sanders portrait, which has been held for more than a year at U of G.

Commenting on the debate over a 410-year-old likeness, Summerlee says, “It matters because we all know Shakespeare. We all know him because we are all imbued in his work. As a scientist I know we have a craving to associate faces with people.”


Recent Media Stories on the Sanders Portrait Symposium and Sale

Following upon the November 28, 2013 Symposium “Look Here Upon this Picture: A Symposium on the Sanders Portrait of Shakespeare”, held at the Munk Centre, University of Toronto, a number of media outlets have released stories or done full-length radio shows about the Sanders Portrait:

Canadian family to buy portrait at centre of Shakespeare art mystery (Globe & Mail)

Faces of Our Ancestors a Reflection of Ourselves (Guelph Mercury)

The Sanders Portrait of Shakespeare: Interviews and Discussion (CFRU Radio featuring Andrew Bretz, Daniel Fischlin, John Kissick, and Diane Nalini)

CBC: The Morning Edition (December, 2013 with Craig Norris)

Social Media on Storify (December 2013)

As It Happens (CBC December 16, 2013)

SANDERS PORTRAIT Duration: 00:06:53
Members of the Sullivan family were sure they were living with William Shakespeare. The problem was convincing anyone else.The Sullivans were the owners of what they believed to be the one and only true portrait of Shakespeare, painted by an ancient relative. But it was tough to know what exactly to do with the treasure.Lloyd Sullivan has been fighting for decades to prove to the world his painting is indeed an authentic likeness of the great writer. Many experts now agree that the Sanders Portrait is indeed Shakespeare — but either way, it’s a battle Lloyd will no longer have to fight: a deal is being brokered for the sale of the painting to an unknown Canadian buyer.We reached Lloyd Sullivan at his home in Ottawa.

Canadian-owned painting purported to be only life-likeness of Shakespeare changing hands  (Steve Mertl, Yahoo News Canada)

Shakespeare portrait sale has major U of G connection (Guelph Mercury, December 16, 2013)

Canadian man said to own only portrait of Shakespeare (The Ontarian, December 5, 2013)

Conference Explores Origins of Shakespeare Portrait (Andrew Vowles, January 16, 2014)


OUP offers Shakespeare series with a Canadian twist

 

OUP offers Shakespeare series with a Canadian twist

Less than a year after officially shuttering its Canadian trade division, Oxford University Press has released a new series of Shakespeare’s plays with crossover appeal and a distinctly Canadian twist. The Shakespeare Made in Canada series edited by Daniel Fischlin comprises Shakespeare plays paired with introductions by Canadian scholars. Each text also includes a preface by an artist who has been involved with the adaptation of a Shakespearean work in Canada, as well as explanatory notes and reading tips. The first titles in the series are Romeo and Juliet and The Tempest, and Hamlet and A Midsummer Night’s Dream are already in the works.

In accordance with OUP Canada’s new “curriculum-based” focus, the series is designed to serve as a teaching text for Canadian undergraduate students, though acquiring editor Jennie Rubio says she expects it to received interest from theatregoers and other non-academic consumers.

The series’ genesis was aided by the Canadian Adaptations of Shakespeare Project at the University of Guelph, a research venture focusing on how Canadians have historically read and reproduced works by the Bard. The project team, led by general editor of the Shakespeare Made in Canada series, Daniel Fischlin, selected the titles for publication from their archives.

“They’ve done a ton of research on how we’ve adapted Shakespeare from the 1760s … adaptations by new settlers, Aboriginals, and French-English ones,” Rubio says. “There are just a lot of interesting things and insights that have come from Canadian productions and this incredible diversity in how Canadians have made these adaptations over time.”

A further Canadian link is showcased on the cover of each title in the series, which depicts what is believed to be the only sitting portrait of Shakespeare painted during his lifetime. The painting, known as the Sanders portrait of Shakespeare, belongs to a Canadian family that emigrated from England in the 19th century. A conference discussing the portrait, to be held at the University of Toronto on Nov. 28, coincides with the series’ release.

“It’s a weird Canadian connection,” says Rubio. “Shakespeare’s work is almost as Canadian as it is British by now, because we’ve done so much adaptation.”

OUP plans to see how well the series succeeds before deciding to move forward with additional titles, though Rubio says Othello may be next in line and has a personal preference for As You Like It.


Experts to Debate, Discuss Canadian Portrait of Shakespeare

Experts to Debate, Discuss Canadian Portrait of Shakespeare

November 27, 2013 – News Release

The face of William Shakespeare and its ties to the University of Guelph are the focus of an unprecedented conference being held in Toronto this week.

“Look Here Upon This Picture: A Symposium on the Sanders Portrait of Shakespeare” will share evidence gathered by U of G experts and others showing that a Canadian man owns the only portrait of William Shakespeare painted while the playwright was alive.

Thought to depict the Bard at age 39, the Sanders portrait is owned by Ottawa resident Lloyd Sullivan, a friend and supporter of U of G.

“The University of Guelph has played a key role in the analysis of the Sanders portrait,” said president Alastair Summerlee.

“After many years of effort, we are now prepared to share an insider’s view of how this research can enhance the world’s understanding of the impact of the Bard.”

It’s believed that Shakespeare sat for an ancestor of Sullivan’s, an actor and painter named John Sanders, in 1603. The portrait was held in the family for 400 years and at one time was stored under Sullivan’s grandmother’s bed. Sullivan inherited it from his mother in 1972.

The Sanders portrait was the centrepiece of a months-long exhibit at Guelph’s Macdonald Stewart Art Centre in 2007. It’s also the signature image of U of G’s Canadian Adaptations of Shakespeare Project (CASP), the world’s largest and most complete website about Shakespeare’s cultural influence.

CASP was founded and directed by Guelph English professor Daniel Fischlin, who has spent the past decade helping to authenticate the portrait and trace family connections between Shakespeare and Sullivan’s ancestors.

“We embarked on this journey to find the truth,” Fischlin said. Referring to scientific, historical and genealogical evidence, he said, “The cumulative weight of it is unprecedented and makes the portrait the rarest of all art commodities: the only image of Shakespeare painted during his lifetime that has survived the period. No portrait comes close or has faced the same degree of interdisciplinary scholarly scrutiny.”

The symposium, sponsored by U of G and CASP, will be held Thursday from 9:30 a.m. to 5 p.m. at the Munk School of Global Affairs in Toronto.

Speakers will discuss the history of the portrait and Shakespeare’s presence in Canada. Besides Summerlee and Fischlin, the symposium will include U of G professors John Kissick, director of the School of Fine Art and Music and a respected painter; and Robert Enright, University Research Professor in Art Criticism and one of Canada’s most prominent cultural journalists.

Panel discussions and talks will also feature journalists, scholars, gallery directors, museum curators, filmmakers, historians and costume designers discussing everything from the portrait’s provenance and context to its value and legacy.

“It’s in the best public interest to move this portrait into the public domain where ongoing research and debate can continue,” Summerlee said.

“Canadians also should be able to access this wonderful image in a properly curated setting. We hope that this symposium plays a prominent role in making that happen.”

More than a dozen forensic tests have confirmed that the Sanders painting dates from around 1600 and has remained unaltered. They include tests of ink from a hand-written inscription on a label identifying the subject as William Shakespeare and listing his birth and death dates.

Working with British genealogist Pam Hinks, Fischlin and his team have uncovered relations between Sullivan and Shakespeare and his closest associates that extend back thirteen generations. With Hinks, Fischlin and his research team have visited gravesites, uncovered and transcribed historical documents, examined major historical archives in the U.K., and interviewed Sullivan’s relatives. The full results of that work will be outlined at the symposium.

Fischlin learned about the Sanders portrait while seeking original Canadian adaptations of Shakespeare for CASP. He contacted Sullivan and obtained the right to use the image.

In 2006, the portrait was part of “Searching for Shakespeare,” an international exhibit by the National Portrait Gallery in London that toured North America. It joined the gallery’s famed Chandos painting and four other early “contenders” purporting to represent Shakespeare.

The Sanders portrait was also the subject of the 2001 book Shakespeare’s Face and of award-winning Canadian documentarian Anne Henderson’s 2008 film Battle of Wills.

Contact:
Prof. Daniel Fischlin
School of English and Theatre Studies
dfischli@uoguelph.ca
519 824-4120, Ext. 53267


Three Films on Shakespeare and London

In association with the London Metropolitan Archives, CASP is pleased to make available three short films curated and made by the London Metropolitan Archives (LMA) as part of its 2013 exhibit, “Shakespeare and London” (see Shakespeare and London Programme).

Sincere thanks to London Metropolitan Archives Archivist David Baldwin for making these informative films available to CASP in conjunction with the CASP-organized conference, “Look here upon this picture:” A Symposium on the Sanders Portrait of Shakespeare (November 28, 2013).

We also thank Principal Archivist, Laurence Ward and Imaging and Media Officer, Richard Green for the instrumental roles they played in the filming, editing, and narration of these films, the first to document in any detail Shakespeare’s presence in London.

The three films address:

1. Shakespeare in the City (of London)

From memorials to street names, statues to tower blocks, William Shakespeare is present in London in ways that very few people achieve. This film explores his on-going presence in the landscape of the city.

2. The Shakespeare Deed

Providing more information on the deed and property William Shakespeare purchased, this short film shows close up views of the document and signature, images and maps of the Blackfriars area as well as present day views of the location.

3. Theatres in Shakespeare’s London

Starting with the playhouses that Shakespeare would have known and worked in, this film looks at the development of London’s theatres with a particular focus on theatres and companies developed to showcase his plays.

These detail Shakespeare’s general presence in London and include a focus on the remarkable deed held by the LMA that relates to the 1613 purchase by William Shakespeare of a property in Blackfriars, close to the Blackfriars Theatre and just across the river from the Globe Theatre. They also lay out in detail the specifics of where Shakespeare lived during his time in London and the ex of his involvement with different theatres in different locations across the city.

Copyright of these films is held by the London Metropolitan Archives and they are not to be copied, disseminated, or distributed without the express permission of the London Metropolitan Archives. CASP gratefully acknowledges the LMA’s permission to reproduce the films in this context as an adjunct to the symposium on the Sanders Portrait of Shakespeare.

The London Metropolitan Archives (LMA) is a public research office in central London which stores records about every aspect of life in the capital dating back to 1067. Holding over 100km of records, the archives are free and open to everyone. You can find out more by visiting the LMA website at www.cityoflondon.gov.uk/lma––or by following the LMA  on Twitter (www.twitter.com/ldnmetarchives)
or liking the LMA on Facebook (www.facebook.com/londonmetropolitanarchives).

Shakespeare and London Films

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