Romantic Outlaws: The Extraordinary Lives of Mary Wollstonecraft and Her Daughter Mary Shelley

by Charlotte Gordon

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  IMAGE CREDITS

  0.2 The Epitaph on My Mother’s Tomb, by W. and J. Hopwood, engraved frontispiece to Mary Lamb, Mrs. Leicester’s School, 5th ed. (London: M. J. Godwin and Co., 1817). The Carl H. Pforzheimer Collection of Shelley and His Circle, the New York Public Library, Astor, Lenox and Tilden Foundations.

  1.1 The Polygon. Edward Walford, Old and New London; A Narrative of Its History, Its People, and Its Places, vol. 5, The Western and Northern Suburbs (London: Cassell & Company, 1892), https://archive.org/details/cu31924091765846.

  1.2 Mary Wollstonecraft, portrait by John Opie (1797). De Agostini Picture Library/Bridgeman Images.

  1.3 Samuel Taylor Coleridge, engraving by William Say (1840), based on a portrait by James Northcote (1804). Private collection/Bridgeman Images.

  3.1 William Godwin, engraving by George Dawe after the painting by James Northcote (1802). The Carl H. Pforzheimer Collection of Shelley and His Circle, the New York Public Library, Astor, Lenox and Tilden Foundations.

  3.2 View of Newgate Market in Paternoster Square, London, c. 1850. HIP/Art Resource, New York.

  4.1 The South Parade, Bath, by James Gandon (1784). Courtesy of the Victoria Art Gallery, Bath & North East Somerset Council.

  4.2 The Lady’s Maid. British Library, London, © British Library Board, all rights reserved/Bridgeman Images.

  7.1 Portrait of Percy Bysshe Shelley, 1819 (oil on canvas), by Amelia Curran (1775–1847). National Portrait Gallery, London/Bridgeman Images.

  7.2 Shelley and Mary in old St. Pancras churchyard, 1877 (oil on canv
as), by William Powell Frith (1819–1909). Private collection/Bridgeman Images.

  8.1 Joseph Johnson, by William Sharp, after a line engraving by Moses Haughton the Elder, c. 1780–1820. © National Portrait Gallery, London.

  10.1 The Nightmare, c. 1781 (oil on canvas), by Henry Fuseli (Johann Heinrich Fussli) (1741–1825). Goethe Museum, Frankfurt/Peter Willi/Bridgeman Images.

  10.2 Œconomy & Self-Denial Are Necessary, engraving by William Blake, Plate 6, Original Stories from Real Life, Lessing J. Rosenwald Collection, Library of Congress. Copyright © 2014 William Blake Archive. Used with permission.

  11.1 Claire Clairmont, 1819 (oil on canvas), by Amelia Curran. Nottingham City Museums and Galleries (Nottingham Castle)/Bridgeman Images.

  12.1 Self-portrait of Henry Fuseli (black chalk on paper). Private collection/Bridgeman Images.

  12.2 Mary Wollstonecraft, stipple engraving by William Ridley (1796), after a painting by John Opie. The Carl H. Pforzheimer Collection of Shelley and His Circle, the New York Public Library, Astor, Lenox and Tilden Foundations.

  13.1 Lord Byron (oil on canvas), by Thomas Phillips (1770–1845). Private collection/Bridgeman Images.

  13.2 The Villa Diodati, from Finden’s Landscape & Portrait Illustrations to the Life and Works of Lord Byron, vol. 2 (London: John Murray, 1832). Courtesy of the John Murray Collection.

  15.1 Mary Shelley, c. 1816 (lithograph), English School (nineteenth century). © Russell-Cotes Art Gallery & Museum, Bournemouth, UK/Bridgeman Images.

  15.2 Draft page of Frankenstein in Mary Shelley’s hand. Bodleian Library, University of Oxford. Abinger c. 56, fol. 21r.

  16.1 Mary Wollstonecraft, etching and aquatint by Roy, after an unknown artist, after physionotrace, early nineteenth century. © National Portrait Gallery, London.

  17.1 James Henry Leigh Hunt (1784–1859) aged forty-four, engraving by Henri Meyer (1844–1899), lithograph, after John Hayter (1800–1891), from E. V. Lucas, The Life of Charles Lamb, vol. 1 (London: Methuen, 1905). Private collection/Ken Welsh/Bridgeman Images.

  20.1 Handwritten comments by John Adams in Mary Wollstonecraft, An Historical and Moral View of the French Revolution (London, 1794). Courtesy of the Trustees of the Boston Public Library/Rare Books.