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"Come Unto These Yellow Sands", Tempest, Act 1, Scene 2 (engraving)

'Come Unto These Yellow Sands', Tempest, Act 1, Scene 2 (engraving)


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"Come Unto These Yellow Sands", Tempest, Act 1, Scene 2 (engraving)

2785714 " Come Unto These Yellow Sands", Tempest, Act 1, Scene 2 (engraving) by English School, (19th century); Private Collection; (add.info.: " Come Unto These Yellow Sands", Tempest, Act 1, Scene 2. Illustration for The Illustrated Times, 25 July 1857.); Look and Learn / Illustrated Papers Collection; English, out of copyright

Media ID 23456962

© Look and Learn / Illustrated Papers Collection / Bridgeman Images

Literary Illustrations Tempest


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EDITORS COMMENTS
This engraving, titled ""Come Unto These Yellow Sands", Tempest, Act 1, Scene 2" transports us to the enchanting world of William Shakespeare's play. Created by an English School artist in the 19th century, this print captures a pivotal moment in The Tempest. The scene depicted is Act 1, Scene 2, where Ariel entices Ferdinand with his ethereal song on a deserted island. The illustration beautifully portrays the magical atmosphere as Ariel sings amidst golden sands and crashing waves. The delicate details of the engraving bring to life Shakespeare's vivid imagery. The use of light and shadow adds depth to the composition while emphasizing the otherworldly nature of this encounter. As we gaze upon this artwork, we can almost hear Ariel's melodic voice beckoning us to join him on these yellow sands. Originally published in The Illustrated Times on July 25th, 1857, this engraving has become an iconic representation of one of Shakespeare's most beloved plays. It serves as a testament to both the enduring power of literature and art's ability to capture its essence. Now preserved in a private collection but made available through Bridgeman Images' Fine Art Finder platform, this print allows us to appreciate not only Shakespeare's genius but also the skill and talent of the anonymous English School artist who brought this scene to life over a century ago.

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