enturies, such efforts wereoften richly rewarded. "Successful" stage performers sometimes became
cult figures, the multiple reproductions of their portraits providing
popular icons sought after by idolizers who followed their favorite
actors' fortunes with all the passion that in subsequent centuries has
been accorded certain film and music stars (the examples of John
Philip Kemble, Edmund Kean, Henry Irving, Ellen Terry, Edwin Booth,
and Sarah Bernhardt immediately come to mind). Not surprisingly, just
as a reputable portrait painter could make a good living by being paid
by his subject (Garrick commissioned a number of works in which he was
depicted), the print seller or publisher who hired a designer and
engraver could generate income by reproducing and selling po
