Henry Irving (1838-1905) wore this costume as Shylock in The Merchant of Venice by William Shakespeare (1564-1616). The costume was designed by the painter and engraver John Gilbert (1817–1897), who specialised in works on Shakespearean themes. His many book illustrations included an engraved print of Shylock for the Imperial Edition of The Works of Shakespere [sic] which was published in two volumes between 1873 and 1876.

Irving first produced The Merchant of Venice in 1879, inspired by a Mediterranean cruise during which he visited Venice and North Africa. His portrayal of Shylock was sympathetic and intellectual, unlike the variously comic or villainous ones of preceding eras. The initial production ran for 250 performances, and it remained in Irving’s repertory of plays until his death in 1905.

Irving became a professional actor in 1856, and learned his trade in regional theatres until 1866, when he came to London. He joined the Lyceum Theatre company under the management of H. L. Bateman in 1871, winning great acclaim that year for his psychologically developed characterisation of the guilt-ridden inn-keeper Mathias in Leopold Lewis’s melodrama The Bells. He took on the responsibilities of ‘actor-manager’ in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928). Irving produced a diverse range of old and new plays at the Lyceum, including Shakespeare, historical drama, and literary adaptations. His tireless work to elevate the status of the theatrical profession was rewarded in 1895 when he became the first actor ever to receive a knighthood for services to the Theatre.

Irving specialised in spectacularly staged productions with large casts of performers. He commissioned designers and composers to create appropriate scenery, costume and incidental music, played by a full orchestra. Although electric lighting was available from the 1880s, Irving preferred the softer effects of gas, with lime light to focus attention at key points in the play. Irving toured complete productions outside London, taking the full company, scenery and costumes throughout the United Kingdom and across the United States and Canada. The development of the railway system made his the first generation able to achieve this level of touring productions.