The popularity of these theatrical misers is evident from the number of paintings and drawings based on them, many of which were then adapted as prints. In 18th-century England, it was Fielding's "The Miser" that attracted most attention. Samuel Wale's drawing of the second act was also made into a print. But it was principally depictions of various actors in the character of Lovegold, the play's anti-hero, which attracted artists. Samuel De Wilde pictured William Farren in the role at the Theatre Royal, Bath. Several other works became plates in one or another book dedicated to English drama. James Roberts II (1753 – c. 1810) executed a pen and ink watercolour of Edward Shuter in character which was adapted as a print for the six-volume play collection, "Bell's British Theatre". Charles Reuben Ryley made a print of Thomas Ryder in the role for "Lowndes' British Theatre" (1788), while Thomas Parkinson's painting of Richard Yates as Lovegold was adapted for the 1776 edition of that work. In the following century, Thomas Charles Wageman's dramatic head and shoulders drawing of William Farren as Lovegold illustrated William Oxberry's collection of texts, "The New English Drama" (1820). From this time too dates the coloured print of Samuel Vale acting the part of Goliah Spiderlimb, the comic servant in Jerrold's "The Smoked Miser".