{"product_id":"1611000-1623-shakespeare","title":"1611000 1623 Shakespeare","description":"10314. \u003cdiv align=\"center\"\u003e \u003cfont size=\"4\"\u003e\u003cstrong\u003eShakespeare's \"The First Part of Henry the Fourth\".  \u003c\/strong\u003e\u003c\/font\u003e\n\u003c\/div\u003e\n\n\u003cdiv align=\"center\"\u003e\u003cfont size=\"4\"\u003e\u003cstrong\u003eExtracted from the First Folio.  1623.  Complete.  \u003c\/strong\u003e\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e\u003cfont size=\"4\"\u003ePhysical description, textual analysis and comments by the auction house.\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003eThis fragment consists of 13    printed pages of antique Renaissance rag paper. Eleven of the printed pages are double-sided and two pages, the first and last, are single-sided. Five additional pages of modern paper were inserted by the binder, three in front and two in back, including one single-sided title page. It is very finely bound in bright red textured patent leather with gold print and trim and labeled only on the spine, \"First Folio, 1623.\" The bound cover measures 8-1\/8\" x 12-1\/8\" x 3\/8\". Inside pages measure 8\" x 12\". Inside the front cover on the bottom edge of the visible binding is tiny gold print that reads \" Bound by Sangorski \u0026amp; Sutcliffe London England\". Sangorski \u0026amp; Sutcliffe was established in 1901  and soon became one of Englandís foremost luxury bookbinders. The firm achieved world-wide fame for the exquisite bindings it produced throughout the 1900s, earning recognition as the most important bookbindery of the 20th century. The first three bound pages, inserted by the binder, are heavy, off white stationary paper of very high quality. Pages 1 and 2 are blank on both sides. The third page is a printed, single-sided title page: \"Henry IV. \/ Part 1 \/ by \/ Wm. Shakespeare \/ The First Folio \/ 1623\" The fourth bound page leaf is the first page of the original fragment. It is blank on side one, and side two is printed with the first page of print from Part 1 of Henry IV. The first printed page is on heavier paper than the inside pages. The page numbering begins with the first page of print and is numbered 46. It is followed by page 49. No portion of the play is missing or omitted between these pages. This is a pagination error that when meeting with Dr. Eric Rasmussen to authenticate this fragment, he explained that the printing process of the First Folio took two years to complete and paper represented the biggest overhead expense because of how costly it was to manufacture. The cost was so high that it was prohibitive to print production, limiting publishers to 1000 print copies or less per job. To cut down on expenditures, publishers did not allow any paper to go to waste. Errors that already printed were bound \"as is\"; every page was filled with text, regardless of section breaks or chapters. Pages were printed on both sides and rarely left blank. These practices were applied to the First Folio as well and is the reason many plays share a page with the play printed before or after in the folio. The first page of one play was printed on the back side of the last page of the preceding play when necessary. Therefore, if an original complete First Folio was split up or fragmented into individual plays, those that shared a page might lose one page for the other to be complete. For this reason, many fragments are missing the first or last page. In other First Folio copies we viewed in digital format, Part 1 of Henry IV shares both the first and the last pages; the first page is printed on the back side of the last page of Richard II, and the last page is printed on the front side of the first page of Part II of Henry IV. In this fragment, not only are both the first and last page present, but they appear to be printed on a single side of much heavier paper or cardstock. The first page of print, however, has a barely detectable line along the bound edge of the text that resembles a very faint glue line. The heavier paper appears to be authentic rag paper from the same time period, though, ruling out the possibility that pages 46 and 73 were substituted with 19th century facsimiles. The only reference to heavy paper our research uncovered indicated that the main title pages only of certain copies of the complete Second Folio were printed on heavier paper. (Ref: The Variant Issues of Shakespeare's Second Folio..... by Robert Metcalf Smith, Ph.D.) Fortunately, we had access to the leading world expert on First Folios and inquired about this anomaly. According to Dr. Rasmussen, single plays from the first folio were sometimes prepared for individual sale by adhering the first and last page to heavier paper, which served as covers. He said this was done by the print house to maximize profits, possibly during the two-year printing process, as individual plays were completed, and printing costs were piling up. One could speculate that perhaps the reason only 750 complete First Folios were published, rather than 1000, is because a couple hundred copies of individual plays were pre-sold as fragments with card stock covers, as a way to generate revenue and cover expenses during the lengthy production process. In his explanation of the process of binding individual play copies with heavy card stock, Dr. Rasmussen confirmed for us that the faint line we saw on the inside edge of the first page, was indeed visible evidence that the original first page of the play, which was printed double-sided on the much thinner, light weight paper used for every other First Folio page, was glued to a page of heavy card stock paper. Rasmussen stated that if the page were removed from \u003c\/div\u003e\n\n\u003cdiv\u003eKing Henry IV Pt.1.  Extracted from the First Folio.  1623.  Complete.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003ethe heavy paper, the second side would be printed with the last page of ìThe Life \u0026amp; death of Richard the Second,î as expected of a true First Folio page copy. TEXT The complete First Folio of the work of William Shakespeare (1564-1616) that was published in 1623 included 36 plays. Half of the published plays were printed by pirates and sold during Shakespeare's lifetime, but about 18-20 plays were never published in print before the folio was compiled, seven years after Shakespeare's death. Dr. Rasmussen estimates that about 750 complete copies of the First Folio were originally produced but to date fewer than 240 copies (considered \"complete\" or near complete) are known to exist. Most of those are now in the Special Collections of prestigious Universities or in special exhibits of world-class museums, but a few complete First Folios exist in the private libraries of a select group of very fortunate collectors.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e\u003cfont size=\"4\"\u003eSynopsis of entire Play\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cfont size=\"4\"\u003e \u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e1 Henry IV has two main plots that intersect in a dramatic battle at the end of the play. The first plot concerns King Henry IV, his son, Prince Harry, and their strained relationship. The second concerns a rebellion that is being plotted against King Henry by a discontented family of noblemen in the North, the Percys, who are angry because of King Henry’s refusal to acknowledge his debt to them. The play’s scenes alternate between these two plot strands until they come together at the play’s end.\u003c\/div\u003e\n\n\u003cdiv\u003eWhen the play opens, military news interrupts the aging King Henry’s plans to lead a crusade. The Welsh rebel Glyndˆwr has defeated King Henry’s army in the South, and the young Harry Percy (nicknamed Hotspur), who is supposedly loyal to King Henry, is refusing to send to the king the soldiers whom he has captured in the North. King Henry summons Hotspur back to the royal court so that he can explain his actions.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003eMeanwhile, King Henry’s son, Prince Harry, sits drinking in a bar with criminals and highwaymen. King Henry is very disappointed in his son; it is common knowledge that Harry, the heir to the throne, conducts himself in a manner unbefitting royalty. He spends most of his time in taverns on the seedy side of London, hanging around with vagrants and other shady characters. Harry’s closest friend among the crew of rascals is Falstaff, a sort of substitute father figure. Falstaff is a worldly and fat old man who steals and lies for a living. Falstaff is also an extraordinarily witty person who lives with great gusto. Harry claims that his spending time with these men is actually part of a scheme on his part to impress the public when he eventually changes his ways and adopts a more noble personality.\u003c\/div\u003e\n\n\u003cdiv\u003eFalstaff’s friend Poins arrives at the inn and announces that he has plotted the robbery of a group of wealthy travelers. Although Harry initially refuses to participate, Poins explains to him in private that he is actually playing a practical joke on Falstaff. Poins’s plan is to hide before the robbery occurs, pretending to ditch Falstaff. After the robbery, Poins and Harry will rob Falstaff and then make fun of him when he tells the story of being robbed, which he will almost certainly fabricate.\u003c\/div\u003e\n\n\u003cdiv\u003eHotspur arrives at King Henry’s court and details the reasons that his family is frustrated with the king: the Percys were instrumental in helping Henry overthrow his predecessor, but Henry has failed to repay the favor. After King Henry leaves, Hotspur’s family members explain to Hotspur their plan to build an alliance to overthrow the king.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003eHarry and Poins, meanwhile, successfully carry out their plan to dupe Falstaff and have a great deal of fun at his expense. As they are all drinking back at the tavern, however, a messenger arrives for Harry. Harry’s father has received news of the civil war that is brewing and has sent for his son; Harry is to return to the royal court the next day.\u003c\/div\u003e\n\n\u003cdiv\u003eAlthough the Percys have gathered a formidable group of allies around them—leaders of large rebel armies from Scotland and Wales as well as powerful English nobles and clergymen who have grievances against King Henry—the alliance has begun to falter. Several key figures announce that they will not join i\u003c\/div\u003e\n\n\u003cdiv\u003ein the effort to overthrow the king, and the danger that these defectors might alert King Henry of the rebellion necessitates going to war at once.\u003c\/div\u003e\n\n\u003cdiv\u003e  \u003c\/div\u003e\n\n\u003cdiv\u003eHeeding his father’s request, Harry returns to the palace. King Henry expresses his deep sorrow and anger at his son’s behavior and implies that Hotspur’s valor might actually give him more right to the throne than Prince Harry’s royal birth. Harry decides that it is time to reform, and he vows that he will abandon his wild ways and vanquish Hotspur in battle in order to reclaim his good name. Drafting his tavern friends to fight in King Henry’s army, Harry accompanies his father to the battlefront.\u003c\/div\u003e\n\n\u003cdiv\u003eThe civil war is decided in a great battle at Shrewsbury. Harry boldly saves his father’s life in battle and finally wins back his father’s approval and affection. Harry also challenges and defeats Hotspur in single combat. King Henry’s forces win, and most of the leaders of the Percy family are put to death. Falstaff manages to survive the battle by avoiding any actual fighting.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003ePowerful rebel forces remain in Britain, however, so King Henry must send his sons and his forces to the far reaches of his kingdom to deal with them. When the play ends, the ultimate outcome of the war has not yet been determined; one battle has been won, but another remains to be fought (Shakespeare’s sequel to this play, 2 Henry IV, begins where 1 Henry IV leaves off).\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e\u003cfont color=\"#001D35\"\u003eHenry IV, Part 1, by William Shakespeare, is an historical play that explores themes of leadership, rebellion, and personal honor in 15th-century England. The play is the first of a two-part historical drama chronicling the reign of King Henry IV. \u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e\u003cfont size=\"4\" color=\"#1F1F1F\"\u003eKey Characters:\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cul\u003e\n \u003cul\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eKing Henry IV:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e A king troubled by the guilt of usurping the throne and the rebellions challenging his authority. He is concerned about his son's seemingly irresponsible behavior.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003ePrince Hal (Henry V):\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e The future king, initially presented as a carefree youth who enjoys the low life of taverns. He is a complex figure, capable of both lightheartedness and strategic planning for his future role as monarch.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eHotspur (Henry Percy):\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e A brave and hot-headed warrior who embodies chivalric honor and becomes a formidable leader of the rebellion.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eSir John Falstaff:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e A witty, gluttonous, and cowardly knight who serves as Prince Hal's companion and a source of comic relief. Falstaff represents a world of freedom and self-indulgence, often contrasting with the more serious themes of the play.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eEarl of Worcester (Thomas Percy):\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e Hotspur's uncle, a shrewd and manipulative figure who plays a significant role in fueling the rebellion.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eOwen Glendower:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e A Welsh leader who joins the rebellion, embodying a sense of mystery and magic with his claims of supernatural abilities.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eEarl of Douglas:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e A Scottish nobleman who allies with the rebels and is a formidable warrior. \u003c\/font\u003e\n\u003c\/li\u003e\n \u003c\/ul\u003e\n\u003c\/ul\u003e\n\n\u003cdiv\u003e\u003cfont color=\"#1F1F1F\"\u003eThemes and Interpretations:\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cul\u003e\n \u003cul\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eHonor:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e The play presents contrasting perspectives on honor, exemplified by Hotspur's idealistic and martial view and Falstaff's cynical and pragmatic stance. Prince Hal grapples with his own definition of honor as he navigates the worlds of the court and the tavern.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eDuty and Kingship:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e The play explores the complexities of leadership and the burden of royal responsibility. King Henry's struggle to maintain his authority, Hal's journey towards assuming his future role, and the rebels' challenge to the legitimacy of the throne all contribute to this theme.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eRebellion and Legitimacy:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e The play is set against the backdrop of the Percy Rebellion, raising questions about the legitimacy of Henry IV's reign and the reasons for challenging established power.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eFathers and Sons:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e The relationships between King Henry and Hal, and Northumberland and Hotspur, highlight the generational conflicts and expectations within aristocratic families, linking personal relationships with the broader political landscape.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eComing-of-Age:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e Hal's development from a seemingly reckless youth to a responsible and capable leader is a central aspect of the play, often viewed as a \"prodigal son\" narrative with a political dimension.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eLanguage and Communication:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e Shakespeare's mastery of language is showcased through the distinct voices and dialects of the characters, reflecting their social status and contributing to the play's exploration of power dynamics. \u003c\/font\u003e\n\u003c\/li\u003e\n \u003c\/ul\u003e\n\u003c\/ul\u003e\n\n\u003cdiv\u003e\u003cfont color=\"#1F1F1F\"\u003eLiterary Devices:\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cul\u003e\n \u003cul\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eContrast:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e The play is structured around contrasts between characters, settings (court vs. tavern), and values (honor vs. pragmatism).\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eSoliloquies:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e Hal's soliloquies provide insights into his inner thoughts and plans for his future transformation.\u003c\/font\u003e\n\u003c\/li\u003e\n  \u003cli\u003e\n\u003cfont color=\"#1F1F1F\"\u003eComic Relief:\u003c\/font\u003e\u003cfont color=\"#001D35\"\u003e Falstaff provides a significant amount of comedic relief, often subverting the serious tone of the political plot with his wit and antics. \u003c\/font\u003e\n\u003c\/li\u003e\n \u003c\/ul\u003e\n\u003c\/ul\u003e\n\n\u003cdiv\u003e\u003cfont color=\"#1F1F1F\"\u003eConclusion:\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cfont color=\"#001D35\"\u003eHenry IV, Part 1 is a rich and complex play that seamlessly blends historical events, political intrigue, and character development. Through its exploration of honor, duty, and the challenges of leadership, the play offers a compelling portrait of a fractured kingdom and the emergence of a future king. The characters, particularly Hal, Hotspur, and Falstaff, are among Shakespeare's most memorable creations, contributing to the play's enduring popularity and relevance. \u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv align=\"center\"\u003e \u003cfont size=\"5\"\u003eDuplicate Leaves from Henry IV pt. 1\u003c\/font\u003e\n\u003c\/div\u003e\n\n\u003cdiv align=\"center\"\u003e \u003c\/div\u003e\n\n\u003cdiv align=\"center\"\u003e\u003cfont size=\"4\"\u003eHenry IV.  Part One.  From the First Folio.  1623.\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv align=\"center\"\u003e\u003cfont size=\"4\"\u003eTwenty-four Pages.  (49-56, 59-73)\u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cfont size=\"4\"\u003e \u003c\/font\u003e\u003c\/div\u003e\n\n\u003cdiv\u003eTHE FIRST PART OF HENRY IV - FRAGMENT FROM THE FIRST FOLIO OF SHAKESPEARE.  SHAKESPEARE. (The First Part of King Henry the Fourth). [London: Isaac Jaggard and Ed. Blount, 1623]. Eight folio leaves, measuring 8 by 12-1\/2 inches, disbound.  (The final page is on the recto of the title page of Henry IV pt. 2 elsewhere in the collection.)  All but the title page of this, considered by many the greatest of Shakespeare's history plays.  Fragment contains all of Hal and Falstaff's incomparable repartee and the complete arc of Hal's transition from profligate tavern denizen to the noblest and most admired of England's monarchs.  Sixteen pages of the 1623 printing, extracted from the landmark First Folio \"intrinsically the most valuable volume in the whole range of English Literature\" (Grolier 100 19).  Shakespeare’s \"arresting portrayal both of political struggle and and of conflict within the family\" (David Bevington). \"No play of Shakespeare’s is better than Henry IV.  History as a dramatic form ripens here to a point past which no further growth is possible\" (Mark Van Doren). Composed circa 1595, the second play in Shakespeare’s second tetralogy masterfully blends ominous drama, as Bolingbroke grapples with rising rebellions, and high comedy as young Prince Hal accompanied by one of the Bard’s most enduring creations, Sir John Falstaff begins his rise to power. The text was first published in 1598; an altered version appeared in the First Folio of 1623. These pages include the last few lines of Act I and all of Act II, Scenes 1-3 and much of Scene 4 (lacking leaf [e4]); much of Act III, Scenes 1 and 2 and all of Scene 3; all of Act IV; and Act V, Scenes 1-3 and almost all of Scene 4 (lacking Prince Henry and Falstaff’s final lines). See Jaggard, 327.  This missing final page is found (recto of the title page) in the complete Henry Fourth Part II in this collection.  The First Folio was prepared by Shakespeare’s associates John Heminges and Henry Condell, and published by William and Isaac Jaggard along with the bookseller Edward Blount in 1623. Of Shakespeare’s thirty-nine undisputed plays, eighteen survive solely because they appear in the 1623 Folio.  Fewer than 250 copies of the First Folio survive, and most of those copies are incomplete. Leaves e2-e3, [e5], f1-[f5]. See Jaggard, 327. Contemporary faint marginalia to lower margins of [f4]. Light soiling to upper corners of f1-[f5]. Light edge-wear, tissue and paper restoration to corners and margins.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003eKing Henry IV part one.  H 49-72, 73\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003eTHE FIRST PART OF HENRY IV - FRAGMENT FROM THE FIRST FOLIO OF SHAKESPEARE.  . (The First Part This fragment can briefly be summarized as follows: King Henry expresses his wish to mount a crusade to the Holy Land and of the year long plan he’s constructed to mount such a campaign;  Westmoreland then informs the king that “noble Mortimer” has been defeated by the Welsh rebellion led by Owen Glendower;  the King realizes he must put aside his dreams of a crusade and face the “civil butchery” that has marred his reign; he laments the fact that his son Harry is a profligate roustabout, while Northumberland’s son (also Harry) known as Hotspur, is heroic and valiant. The king fantasizes if only the two had been switched at birth and from this sentiment we segue directly into the establishing scene with Prince Hal and Falstaff.  Basically, the only material the fragment does not address is the back story of the uprisings taking place in the kingdom and the civil unrest that the king must address.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003eAn amazing fact about Henry IV that Shakespeare of course does not mention, was that somewhere around 1406 Henry contracted a severely disfiguring skin condition (either due to leprosy, syphilis or psoriasis).  The disease inflicted open and suppurating sores on Henry’s face and body.  In addition, a great bulbous tumor erupted under his nose.  In Shakespeare’s narrative, after Prince Hal proves himself by putting down Northumberland’s uprising in the battle of Shrewsbury and killing Hotspur (Part I), we see the king is indeed very worn down, has taken to bed a great deal and finally dies in the room called Jerusalem.  \u003c\/div\u003e\n\n\u003cdiv\u003e1 Henry IV was Shakespeare’s most popular play, at least in print.  During his lifetime, no fewer than nine quarto editions had been printed.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv align=\"center\"\u003e \u003c\/div\u003e  About Fine","brand":"1623","offers":[{"title":"Default Title","offer_id":45899654332589,"sku":"10314","price":36000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0284\/7646\/files\/10314.jpg?v=1644678890","url":"https:\/\/www.nrarities.com\/products\/1611000-1623-shakespeare","provider":"The Gillespie Collection","version":"1.0","type":"link"}