It’s Alive! Frankenstein at 200 Online Teacher Curriculum

Roman Freulich, Elsa Lanchester and Boris Karloff in Bride of Frankenstein, (1935), 1935, Photograph, Core Collection Production Files, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Courtesy of Universal Studios Licensing LLC, © 1935 Universal Pictures Company, Inc.

Richard Rothwell (1800–1868), Portrait of Mary Wollstonecraft Shelley, painted 1831, exhibited 1840, oil on canvas. © National Portrait Gallery, London.

Mary Wollstonecraft Shelley (1797–1851), Frankenstein: It was on a dreary night in November 1816-1817, Pen on paper, The Bodleian Libraries, The University of Oxford, MS Abinger c. 56, fol. 21r.

Benoît Pecheux (1779–1831), plate no. 4, etching and engraving, in Giovanni Aldini (1762–1834), Essai théorique et expérimental sur le galvanisme, avec une série d’expériences faites en présence des commissaires de l’Institut national de France, et en divers amphithéatres anatomiques de Londres, Paris: De l’imprimerie de Fournier fils, 1804. The Morgan Library & Museum, purchased on the Gordon N. Ray Fund, 2016.

Boris Karloff and Marilyn Harris, Frankenstein (1931), 1931, Photograph, Core Collection Production Files, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Courtesy of Universal Studios Licensing LLC, © 1931 Universal Pictures Company, Inc.

Henry Fuseli (1741–1825), The Nightmare, 1781, oil on canvas. Detroit Institute of Arts, USAFounders Society Purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleischman/Bridgeman Images.

Risen from the Dead; or, the medical student, Boys' weekly reader novelette. Vol. IV, no 39 Pamphlet. The Carl H. Pforzheimer Collection of Shelley and His Circle, The New York Public Library, Astor, Lenox, and Tilden Foundations.

Carl Laemmle Presents Frankenstein: The Man Who Made a Monster, 1931, Lithograph poster, Stephen Fishler, comicconnect.com, Courtesy of Universal Studios Licensing LLC, © 1931 Universal Pictures Company, Inc.

William Blake (1757–1827), color relief etching frontispiece in Europe, a Prophecy, Lambeth: Printed by Will. Blake, 1794. The Morgan Library & Museum, Gift of Mrs. Landon K. Thorne, 1972, PML 77235.1.

William Hogarth (1697–1764), The Reward of Cruelty, ca. 1751, red chalk with smudging, squared in graphite, on laid paper, incised with stylus; verso rubbed with red chalk for transfer. The Morgan Library & Museum, Purchased by Pierpont Morgan in 1909, III, 32e.

Franz Joseph Manskirch (1768–1830), Interior of a Gothic Crypt, aquatint with etching and some hand coloring and varnish on paper, London: Rudolph Ackermann, 1799. The Lewis Walpole Library, Yale University.

Auguste Pontenier (1820–1888), wood engraving in Louis Figuier (1819–1894), Les merveilles de la science, ou Description populaire des inventions modernes, Paris: Furne, Jouvet et cie., 1867–70. The Morgan Library & Museum, Purchased on the Gordon N. Ray Fund, 2016, PML 196256.

Philippe-Jacques de Loutherbourg (1740–1812), A Philosopher in a Moonlit Churchyard, 1790, oil on canvas. Yale Center for British Art.

Joseph Wright, The Alchymist, in Search of the Philosopher’s Stone, Discovers Phosphorus, and Prays for the Successful Conclusion of His Operation, as Was the Custom of the Ancient Chymical Astrologers, exhibited 1771, reworked and dated 1795, oil on canvas. Derby Museum Trust.

Vacuum pump with bell jar, ca. 1800–1850. Division of Medicine and Science, National Museum of American History, Smithsonian Institution.

John Keenan (active 1791–1815) after John Opie (1761–1807), Mary Wollstonecraft, 1804, oil on canvas. The Carl H. Pforzheimer Collection of Shelley and His Circle, The New York Public Library, Astor, Lenox, and Tilden Foundations.

George Dawe (1781–1829) after James Northcote (1746–1831), William Godwin, 1802, mezzotint. The Carl H. Pforzheimer Collection of Shelley and His Circle, The New York Public Library, Astor, Lenox, and Tilden Foundations.

Edward Ellerker Williams (1793–1822), Portrait of Percy Bysshe Shelley, 1822, watercolor over black chalk and graphite on wove paper. The Morgan Library & Museum, gift of Mrs. W. Murray Crane, 1949, 1949.3.

Giovanni Salucci (1769–1845), Vue de la ville de Genève & de plein-Palais, 1817, hand-colored etching. Bibliothèque de Genève.

Clara Mary Jane Clairmont (1798 - 1879), Journal of summer 1814, ca. 1814, The Carl H. Pforzheimer Collection of Shelley and His Circle, The New York Public Library, Astor, Lenox, and Tilden Foundations.

Mary Wollstonecraft Shelley (1797 - 1851), Frankenstein: Creature begins his history, account of his education, 1816-1817, Pen on paper, The Bodleian Libraries, The University of Oxford, MS Abinger c. 57, fols. 1v, 2r.

Mary Wollstonecraft Shelley (1797–1851), Frankenstein; Or, the Modern Prometheus. London, Henry Colburn and Richard Bentley, 1831, Frontispiece. The Morgan Library & Museum, PML 58778

Percy Bysshe Shelley, skull fragments, 1822. The Carl H. Pforzheimer Collection of Shelley and His Circle, The New York Public Library, Astor, Lenox, and Tilden Foundations.

Lyceum Theatre (London, England), This evening, Monday, July 28th, 1823, will be produced (for the first time) an entirely new romance of a peculiar interest, entitled Presumption! or, the fate of Frankenstein, London: s.n., 1823, The Morgan Library & Museum, Purchased on the Gordon N. Ray Fund, 2015, PML 196172.

Villain, Théâtre de la Porte S.t Martin, Le monstre, acte premier, scène dernière, ca. 1826, Bibliothèque nationale de France.

Colin Clive in Frankenstein, movie clip, 1931. Library of Congress. Courtesy of Universal Studios Licensing LLC, © 1931 Universal Pictures Company, Inc.

Daniel Parker, torso model of Robert De Niro’s makeup for his role as the creature in Mary Shelley’s Frankenstein, fiberglass, 1994. Harry Ransom Center, University of Texas, Austin.

N. Whittock after (1791–1860), Mr. T. P. Cooke, of the Theatre Royal Covent Garden, in the character of the monster in the dramatic romance of Frankenstein, between 1832 and 1834, The Carl H. Pforzheimer Collection of Shelley and His Circle, The New York Public Library, Astor, Lenox, and Tilden Foundations.

Garrett Fort (1900–1945) and Francis Edwards Faragoh (1895–1966), Frankenstein, typescript screenplay, 12 August 1931. Billy Rose Theatre Division, New York Public Library for the Performing Arts, gift of Philip Riley, 1990. Courtesy of Universal Studios Licensing LLC, © 1931 Universal Pictures Company, Inc.

Gavin Gordon (1901–1983), Elsa Lanchester (1902–1986), and Douglas Walton (1901–1961) in The Bride of Frankenstein, photograph, 1935. Core Collection Production Files, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Courtesy of Universal Studios Licensing LLC, © 1935 Universal Pictures Company, Inc..

Roman Freulich, Elsa Lanchester as the bride, production photograph for The Bride of Frankenstein, 1935, The John Kobal Foundation. Courtesy of Universal Studios Licensing LLC, © 1935 Universal Pictures Company, Inc..

Roman Freulich, Jack Pierce devising makeup for Boris Karloff as the Creature in The Bride of Frankenstein, ca. 1935, The John Kobal Foundation. Courtesy of Universal Studios Licensing LLC, © 1935 Universal Pictures Company, Inc.

Le Monstre et le magicien . . . Ambigu-Comique, souvenir fan, 1861, color lithograph. Biger Collection (CPHB Collection).

Bernie Wrightson, Accursed Creator! Why Did You Form a Monster So Hideous That Even You Turned from Me in Disgust?, lithograph in Mary Shelley’s Frankenstein, New York: Tyrannosaurus Press, 1978. The Morgan Library & Museum, Purchased on the Gordon N. Ray Fund, 2017, PML 197644. © 2018 Bernie Wrightson / Artists Rights Society (ARS), New York.

Josephine Turner (1909–2003) and Leland Crawford, reproduction of wig for Elsa Lanchester in The Bride of Frankenstein, 1991. Museum of the Moving Image. Courtesy of Universal Studios Licensing LLC, © 1935 Univeral Pictures Company, Inc.