Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-08T02:01:04.051Z Has data issue: false hasContentIssue false

Part XXVII - Shakespeare and the Visual Arts

Published online by Cambridge University Press:  17 August 2019

Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
Get access

Keywords

Abbey, Edwin AustinAbildgaard, NicolaiAllston, WashingtonAlma-Tadema, LawrenceAndrews, HenryArthur, BoydBanks, ThomasBarry, JamesBeerbohm, MaxBell, JohnBellamyBetty, William Henry WestBlake, PeterBlake, WilliamBluhm, NormanBoitard, FrançoisBoydell, Alderman JohnBoydell Shakespeare GalleryBrotherhood of RuralistsBrown, Ford MadoxBrown, MatherBunbury, William HenryCapella, Francesco, known as Il DiaggiùCarles Jr., Arthur B.Cassell’s Illustrated ShakespeareChagall, MarcChalmers, A. C.Chasseriau, TheodoreClarke, CharlesClarke, Mary CowdenCornelius, PeterCornwall, BarryCorot, CamilleCouture, TheodoreCraig, Edward GordonDadd, RichardDanby, FrancisDance, NathanielDawson, ManierrreDelacroix, EugeneDicks, JohnDulac, EdmundDyce, WilliamEdwards, EdwardElmore, AlfredFeuerbach, AnselmFlaxman, JohnFolio SocietyFuseli, HenryGilbert, JohnGravelot, HubertGrützner, Edward vonHanmer, ThomasHarlow, George HenryHayman, FrancisHeath, CharlesHeath, Jameshistory paintingHogarth, WilliamHoughtelling, AyresHoward, FrankHughes, ArthurHunt, William HolmanHuskisson, RobertillustrationJameson, Anna BrownellKauffman, AngelicaKaulbach, FriedrichKirkall, ElishaKnight, CharlesKoch, Joseph AntonLagrenée, Anthelme-FrançoisLamb, CharlesLamb, MaryLandseer, EdwinLarry, RiversLawrence, ThomasLeighton, Frederick, LordLeslie, C. R.Lewis, Percy WyndhamLimited Editions Club of New YorkMaclise, DanielMalibran, MariaMartin, JohnMartineau, Robert BraithwaiteMeadows, KennyMillais, John EverettMoreau, GustaveMortimer, John HamiltonMuller, VictorMulready, WilliamNash, PaulNorthcote, JamesParker, Agnes MillerPaton, Joseph NoelPeacham, HenryPeters, Rev. MatthewPine, Robert EdgeportraitsPre-Raphaelite BrotherhoodprintmakingRackham, ArthurRay, ManRetzsch, Moritz vonReynolds, JoshuaRimmer, WilliamRobinson, W. HeathRolfe, William J.Romney, GeorgeRossetti, Dante GabrielRowe, NicholasRuhl, LudwigRunciman, JohnSargent, John SingerScott, DavidSelous, Henry CourtneyShelley, SamuelSiddons, SarahSingleton, HenrySmirke, RobertStaunton, HowardSully, ThomasTaylor, Isaactheatrical conversation piecesTheobald, LewisThompson, JohnThurston, JohnTurner, J. M. W.van Bleeck, Petervan der Gucht, MichaelWalker, AnthonyWaterhouse, John WilliamWatson, CarolineWest, BenjaminWheatley, FrancisWilson, BenjaminWootton, JohnWright, JosephZoffany, JohannZuccarelli, Francescoartists’ booksBoitard, FrançoisBoydell, JohnBoydell, JosiahBoydell Shakespeare GalleryChagall, MarcCraig, E. GordonCranach PressDali, SalvadorDoggett, SueengravingsFaithorne, WilliamFolio Societyfrontispiecesgift bookshalftonesHamletHanmer, ThomasHayman, FrancisillustrationsKing LearKnight, Charleslithographslivre d’artisteMacbethMacquoid, PercyA Midsummer Night’s DreamNew Cambridge ShakespeareNoguchi, IsamoRackham, ArthurThe Rape of LucreceRowe, Nicholassteel engravingsThe Taming of the ShrewThe TempestThompson, JohnThurston, JohnWhittingham, CharlesWoodcutswood engravingactoractressBoydell Shakespeare Gallerycaricaturecartoongraphic satireiconportraitracesatireShakespeare in Love statueAmerican Museum of PhotographyArmstrong-Jones, Anthony (Lord Snowdon)Cameron, Julia Margaretcarte-de-visitecharacterClarke, Mary CowdenCollins Clear Type PressCooper, DonaldEdelstein, T. J.Evans, EdithFoulkes, Richardfoyer cardsThe GraphicHamletHay, LornaHutton, KIllustrated London NewsKean, CharlesKennel, SarahLaroche, MartinMander, RaymondMayer, DavidMcBean, AngusMitchenson, JoeNational Media MuseumNational Portrait GalleryOlivier, Laurencephotographic processesphotographic studiophotographic techniquesphotography in theaterPicture Postpopular editionsPrincess’s TheatreRobinson, Henry Peachscholarly editionsShakespeare in AsiaShakespeare Memorial TheatreThe SketchSmithsonian National Portrait GalleryThe SphereSterographTallis ShakespeareTaylor, Sir Henrytheater programsTwelfth NightVictoria and Albert MuseumWarne, Frederick, Shakespeare editiondrama and arteighteenth-century English actors and actresseseighteenth-century English theater periodicalsengravings of English actorsnineteenth-century English actors and actressesnineteenth-century English theater periodicalspaintings of English actorsperiodical illustrationsportraits of English actorsadvertisementsAtkinson, RonBanks, ThomasBenedickBernhardt, SarahBetterton, ThomasBlair, TonyBlower, PatrickBustsBoydell, JohnCarling Black LabelcartoonsceramicsChandos portraitChesterfield portraitCibber, SusannahCleopatraCoca-ColaCondell, HenryCordeliaThe Daily TelegraphDanzigerDennis, JohnDorset Gardens TheatreDroeshout, MartinDrury Lane TheaterDryden, JohnEditionsFalstaffFlowers BreweryfolioFord Motor CompanyFuseli, HenryGarrick, DavidGielgud, JohnGilbert, W. S.Gilray, JamesGranville, GeorgeThe GuardianGoodman’s FieldsHamletHeminges, JohnHenry VHiggons, BevillHockney, DavidHoly Trinity ChurchHumphrey, OziahimagesJansenn, Gheerart (Gerard Johnson)The Jew of VeniceJohnson, SamuelJonson, BenJulietJulius CaesarKing LearKott, JanLeigh, VivienLincoln’s Inn FieldsLodge, DavidLord EllesmereMacbethMalone, EdmundNational Portrait GalleryThe ObserverOlivier, LaurencePalin, SarahPears SoapPenguinPicasso, PabloPope, AlexanderPotteriesPrince HalPritchard, HannahProsperoRed BullReddish, SamuelRobeson, PaulRomeoRoubiliac, LouisRowe, NicholasRoyal DoultonRysbrack, JohnScheemakers, PeterShakespeare and CompanyShakespeare Cigar CorporationShakespeare GalleryShakespeare HeadShakespeare JubileeShakespeare’s ghostShakespeare’s headShreddiesShylockSoane, JohnstatuesSt. TriniansTheobald, LewisTrinity College DublinTroilus and Cressidaor, Truth Found too LateVerscovis, James FrancisWedgwood, JosiahWestminster AbbeyWoodward, HenryadaptationappropriationCan of Worms PressClassics Illustrated seriescomic bookscomicsconfigurationGaiman, Neilgraphic novelsmangaPocket Classics seriesSelf Made HeroZarate, Oscar
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Kaplan, Paul D.The Earliest Images of Othello.” Shakespeare Quarterly 39.2 (summer 1988): 171–86.Google Scholar
Schlueter, June. “Rereading the Peacham Drawing.” Shakespeare Quarterly 50.2 (summer 1999): 171–84.CrossRefGoogle Scholar

Further reading

Ashton, Geoffrey. Shakespeare and British Art. Exhibition Catalogue. New Haven: Yale UP, 1981.Google Scholar
Cooper, Anthony Ashley (third Earl of Shaftesbury). A Notion of the Historical Draught or Tablature of the Judgement of Hercules, according to Prodicus, lib II Xen[ophon] de Mem[orabilia] Soc[ratis]. London: A. Baldwin, 1713.Google Scholar
Friedman, Winifred H. Boydell’s Shakespeare Gallery. London: Garland, 1976.Google Scholar
Martineau, Jane, et al. Shakespeare in Art. Exhibition Catalogue. London: Merrell, 2003.Google Scholar
Merchant, W. Moelwyn. Shakespeare and the Artist. London: Oxford UP, 1958.Google Scholar
Oakley, Lucy. Unfaded Pageant: Edwin Austin Abbey’s Shakespearean Subjects. Exhibition Catalogue. New York: Columbia University, 1994.Google Scholar
Pressly, William L. A Catalogue of Paintings in the Folger Shakespeare Library: “As Imagination Bodies Forth.” New Haven: Yale UP, c. 1993.Google Scholar
Scolnicov, Hanna. “Chagall’s Tempest: An Autobiographical Reading.” Shakespeare Survey 62 (2009): 151–61.Google Scholar
Sillars, Stuart. The Illustrated Shakespeare, 1709–1875. Cambridge: Cambridge University Press, 2006.Google Scholar
Sillars, Stuart. Painting Shakespeare; The Artist as Critic, 1720–1820. Cambridge: Cambridge University Press, 2006.Google Scholar
Sillars, Stuart. “Reading Illustrated Editions: Methodology and the Limits of Interpretation.” Shakespeare Survey 62 (2009): 162–81.Google Scholar
Studing, Richard. Shakespeare in American Painting: A Catalogue from the Late Eighteenth Century to the Present. Cranbury: Associated UP, 1993.Google Scholar

Sources cited

Allentuck, Marcia. “Sir Thomas Hanmer Instructs Francis Hayman: An Editor’s Notes to His Illustrator (1744).” Shakespeare Quarterly 27.3 (1976): 288315.CrossRefGoogle Scholar
Holland, Peter. “Performing Shakespeare in Print: Narrative in Nineteenth-Century Illustrated Shakespeares.” Victorian Shakespeare. Ed. Marshall, Gail and Poole, Adrian. Vol. 1. Basingstoke: Palgrave Macmillan, 2003. 4772.Google Scholar
Murphy, Andrew. Shakespeare in Print: A History and Chronology of Shakespeare Publishing. Cambridge: Cambridge University Press, 2003.Google Scholar
Scolnicov, Hanna. “Chagall’s Tempest: An Autobiographical Reading.” Shakespeare Survey 62 (2009): 151–61. Cambridge Collections Online. Cambridge University Press. Accessed 19 December 2010. DOI:10.1017/CCOL9780521111034.012.Google Scholar
Sillars, Stuart. The Illustrated Shakespeare, 1709–1875. Cambridge: Cambridge University Press, 2008.Google Scholar

Further reading

Bate, Jonathan. “Pictorial Shakespeare: Text, Stage, Illustration.” Book Illustrated: Text, Image, and Culture, 1770–1930. Ed. Golden, Catherine J.. New Castle: Oak Knoll, 2000. 3159.Google Scholar
Boase, T. S. R.Illustrations of Shakespeare’s Plays in the Seventeenth and Eighteenth Centuries.” Journal of the Warburg and Courtauld Institutes 10 (1947): 83108.CrossRefGoogle Scholar
Fowler, James. “Picturing Romeo and Juliet.” Shakespeare Survey 49 (1996): 111–30. Cambridge Collections Online. Cambridge University Press. Accessed 19 December 2010. DOI:10.1017/CCOL0521570476.009.CrossRefGoogle Scholar
Hammelmann, H. A. “Shakespeare’s First Illustrators.” Apollo (August 1968 Supplement): 14.Google Scholar
Merchant, W. Moelwyn. Shakespeare and the Artist. London: Oxford UP, 1959.Google Scholar
Pape, Walter, and Burwick, Frederick, eds. The Boydell Shakespeare Gallery. Bottrop: Peter Pomp, 1996.Google Scholar
Ray, Gordon. The Illustrator and the Book in England from 1790–1914. 1976. New York: Dover, 1991.Google Scholar
Sillars, Stuart. “Reading Illustrated Editions: Methodology and the Limits of Interpretation.” Shakespeare Survey 62 (2009). 162–81. Cambridge Collections Online. Cambridge University Press. Accessed 19 December 2010. DOI:10.1017/CCOL9780521111034.013.Google Scholar

Sources cited

Bate, Jonathan. “Shakespearean Allusion in English Caricature in the Age of Gillray.” Journal of the Courtauld and Warburg Institutes 49 (1986): 196210.CrossRefGoogle Scholar
Bell, Steve. Belltoons cartoon archive. http://www.belltoons.co.uk/bellworks/.Google Scholar
McCreery, Cindy. The Satirical Gaze: Prints of Women in Late Eighteenth-Century England. Oxford: Oxford UP, 2004.Google Scholar
Risdell, Marcus. The Face and Figure of Shakespeare: How Britain’s 18th Century Sculptors Invented a National Hero. Twickenham: Orleans House Gallery, 2009.Google Scholar

Further reading

Donald, Diana. The Age of Caricature: Satirical Prints in the Age of George III. New Haven: Yale UP, 1996.Google Scholar
Gombrich, E. H.The Cartoonist’s Armoury.” Meditations on a Hobby Horse and Other Essays on the Theory of Art. London: Phaidon, 1963. 127–42.Google Scholar
Harper’s Weekly. American Political Prints, 1766–1876. http://loc.harpweek.com/.Google Scholar
Porter, Roy. “Seeing the Past?Past and Present 118 (1988): 186205.Google Scholar
Smith, Bruce R. Roasting the Swan of Avon: Shakespeare’s Redoubtable Enemies and Dubious Friends. Washington: Folger Shakespeare Library, 1994.Google Scholar
Stephens, F. G., and George, M. D.. Catalogue of Personal and Political Satires in the British Museum. 11 vols. London: British Museum, 1870–1954.Google Scholar

Sources cited

Armstrong-Jones, Anthony (Lord Snowdon). Personal View. London: Weidenfeld and Nicolson, 1979.Google Scholar
Edelstein, T. J., and Cooper, Donald. Donald Cooper: Photographs of the Classic British Theatre. South Hadley: Mount Holyoke College Art Museum, 1987.Google Scholar
Foulkes, Richard. “The Laroche Photographs of Charles Kean’s Shakespeare Revivals.” Theatrephile. 2.8. (1985), 2932.Google Scholar
Mander, Raymond, and Mitchenson, Joe. Hamlet through the Ages: A Pictorial Record from 1709. London: Rockliff, 1952.Google Scholar
Mayer, David. “The Actress as Photographic Icon: From Early Photography to Early Film.” The Cambridge Companion to the Actress. Ed. Gale, Maggie B. and Stokes, John. Cambridge: Cambridge University Press, 2007. 7494.Google Scholar

Further reading

Kennel, Sarah. In the Darkroom: An Illustrated Guide to Photographic Processes before the Digital Age. Washington: National Gallery of Art, 2009.Google Scholar
Mayer, David. “‘Quote the Words to Prompt the Attitudes’: The Victorian Performer, the Photographer, and the Photograph.” Theatre Survey 43.2 (November 2002): 223–51.Google Scholar
Olsen, Victoria. From Life: Julia Margaret Cameron and Victorian Photography. London: Aurum, 2003.Google Scholar
Wade, John. A Short History of the Camera. Watford: Fountain, 1979.Google Scholar

Sources cited

Bell’s Edition of Shakespeare’s Plays. London: J. Bell, 1773. Rpt. 1785.Google Scholar
Boydell, John. A Catalogue of the Pictures in the Shakespeare Gallery, Pall Mall. London: 1789.Google Scholar
Hanmer, Thomas. The Works of Shakespear, In Six Volumes, Carefully Revised and Corrected. Oxford: 1744.Google Scholar
Hunt, Leigh. London Journal 1 (n.p., 1834).Google Scholar
Rowe, Nicholas. The Works of Mr. William Shakespear: in Six Volumes, Revis’d and Corrected with an Account of the Life and Writings of the Author. London: Jacob Tonson, 1709.Google Scholar

Further reading

Aliverti, Maria Ines. La Naissance de l’acteur moderne: l’acteur et son portrait au XVIIIe siècle. Paris: Gallimard, 1998.Google Scholar
Corti, Claudia. Shakespeare illustrato. Rome: Bulzoni, 1996.Google Scholar
Hammerschmidt-Hummel, Hildegard, ed. Die Shakespeare- Illustration (1594–2000). Wiesbaden: Harrassowitz, 2003.Google Scholar
Holland, Peter, ed. Shakespeare, Memory and Performance. Cambridge: Cambridge University Press, 2006.Google Scholar
Murphy, Andrew. Shakespeare in Print: A History and Chronology of Shakespeare Publishing. Cambridge: Cambridge University Press, 2003.Google Scholar
Orgel, Stephen. Imagining Shakespeare: A History of Texts and Visions. New York: Palgrave Macmillan, 2003.Google Scholar
Sillars, Stuart. The Illustrated Shakespeare, 1709–1875. Cambridge: Cambridge University Press, 2008.CrossRefGoogle Scholar
Sillars, Stuart. Painting Shakespeare: The Artist as Critic, 1720–1820. Cambridge: Cambridge University Press, 2006.Google Scholar
Smiles, Sam. Eye Witness: Artists and Visual Documentation in Britain, 1770–1830. Aldershot: Ashgate, 2000.Google Scholar
Smith, Bruce R. Roasting the Swan of Avon: Shakespeare’s Redoubtable Enemies and Dubious Friends. Washington: Folger Shakespeare Library, 1994.Google Scholar
Taylor, Gary. Reinventing Shakespeare: A Cultural History from the Restoration to the Present. London: Hogarth, 1990.Google Scholar
West, Shearer. The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble. London: Pinter, 1991.Google Scholar

Sources cited

Heminges, John, and Condell, Henry. “To the great Variety of Readers.” Mr. William Shakespeares Comedies, Histories, & Tragedies. London: Isaac Jaggard and Edward Blount, 1623.Google Scholar
Lodge, David. Small World. London: Secker & Warburg, 1984.Google Scholar
Schoenbaum, S. Shakespeare’s Lives. Oxford: Clarendon, 1970Google Scholar

Further reading

Holderness, Graham, ed. The Shakespeare Myth. Manchester: Manchester UP, 1988.Google Scholar
Hyde, Mary. “Shakespeare’s Head.” Shakespeare Quarterly 16 (1965): 138–43.Google Scholar
Lennox-Boyd, Christopher, Shaw, Guy, and Halliwell, Sarah. Theatre: The Age of Garrick, English Mezzotints from the Collection of the Hon. Christopher Lennox-Boyd. London: Christopher Lennox-Boyd, 1994.Google Scholar
Longhurst, Derek. “‘You Base Football Player!’: Shakespeare in Contemporary Popular Culture.” The Shakespeare Myth. Ed. Holderness, Graham. Manchester: Manchester UP, 1988. 5973.Google Scholar
O’Connor, John. Shakespeare’s Afterlives: Ten Characters with a Life of Their Own. Cambridge: Icon Books, 2003.Google Scholar
Roscoe, Ingrid. “The Monument to the Memory of Shakespeare.” Church Monuments 9 (1994): 7282.Google Scholar

Sources cited

Appignanesi, Richard, adapt. King Lear. By Shakespeare, William. Illus. Ilya, . London: SelfMadeHero, 2009.Google Scholar
Appignanesi, Richard. Much Ado about Nothing. By Shakespeare, William. Illus. Vieceli, Emma. London: SelfMadeHero, 2009.Google Scholar
Appignanesi, Richard. Othello. By Shakespeare, William. Illus. Osada, Ryuta. London: SelfMadeHero, 2008.Google Scholar
Appignanesi, Richard. The Tempest. By Shakespeare, William. Illus. Duffield, Paul. London: SelfMadeHero, 2007.Google Scholar
Belsey, Catherine. Why Shakespeare? New York: Palgrave Macmillan, 2007.CrossRefGoogle Scholar
Gaiman, Neil. “Men of Good Fortune.” Todd Klein, Steve Parkhouse, Michael Zulli. The Sandman 13 (1990).Google Scholar
Gaiman, Neil. “A Midsummer Night’s Dream.” Todd Klein, Steve Oliff, Charles Vess. The Sandman 19 (1990).Google Scholar
Gaiman, Neil. “The Tempest.” Digital Chameleon, Todd Klein, Charles Vess, Daniel Vozzo The Sandman 75 (1996).Google Scholar
Jensen, Michael P.Comic Book Shakespeare. I.” Shakespeare Newsletter 56:3 no. 270 (2006): 81.Google Scholar
Jensen, Michael P.Comic Book Shakespeare. II.” Shakespeare Newsletter 57:1 no. 271 (2007): 2.Google Scholar
Jensen, Michael P.Comic Book Shakespeare. III.” Shakespeare Newsletter 57:2 no. 272 (2007): 42.Google Scholar
King Lear. Pocket Classics. West Haven: Academic Industries, 1984.Google Scholar
Lusardi, James P.Iconic Shakespeare: Oscar Zarate’s Othello.” Shakespeare in the Visual Arts. Ed. Klein, Holger and Harner, James L.. New York: Edwin Mellen Press, 2000.Google Scholar
McCloud, Scott. Understanding Comics: The Invisible Art. 1993. New York: Harper, 2004.Google Scholar
Smith, Clay. “Get Gaiman?: PolyMorpheus Perversity in Works by and about Neil Gaiman.” ImageTexT: Interdisciplinary Comics Studies 4.1 (2008). http://www.english.ufl.edu/imagetext/archives/v4_1/smith/ Accessed 17 Aug 2010.Google Scholar
Wagner, Peter. “Introduction: Ekphrasis, Iconotexts, and Intermediality – the State(s) of the Art(s).” Icons – Texts – Iconotexts, Essays on Ekphrasis and Intermediality. Ed. Wagner, Peter. Berlin: Walter de Gruyter, 1996. 140.Google Scholar
Young, Alan R. Punch and Shakespeare in the Victorian Era. Oxford: Peter Lang, 2007.Google Scholar
Zarate, Oscar, adapt. Othello. By Shakespeare, William. Illus. Zarate, Oscar. 1985. London: Can of Worms Press, 2005.Google Scholar

Further reading

Burt, Richard. ed. Shakespeare after Mass Media. New York: Palgrave, 2002.Google Scholar
Burt, Richard. Shakespeares after Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture. 2 vols. Westport: Greenwood, 2006.Google Scholar
Castaldo, Annalisa. “‘No More Yielding than a Dream’: The Construction of Shakespeare in The Sandman.” College Literature 31.4 (2004): 94110.CrossRefGoogle Scholar
Cohn, Neil. “Japanese Visual Language.” Downloadable essays. Emaki.net, 2007. Web.Google Scholar
Gaiman, Neil. The Doll’s House. Illus. Drinberg, Mike and Jones III, Malcolm. New York: DC-Vertigo, 1995.Google Scholar
Gaiman, Neil. Dream Country. Illus. Jones, Kelley, Vess, Charles, Doran, Colleen, and Jones III, Malcolm. New York: DC-Vertigo, 1995.Google Scholar
Gaiman, Neil. The Wake. Illus. Zulli, Michael, Muth, Jon J., and Vess, Charles. New York: DC-Vertigo, 1997.Google Scholar
Yoshihara, Yukari. “Popular Shakespeare in Japan.” Shakespeare Survey 60 (2007): 130–40. Cambridge Collections Online. Cambridge University Press. DOI:10.1017/CCOL052187839X.011.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×