Enfilade

The long eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 39.4 (December 2022)

A R T I C L E S

• Antony Griffiths and Giorgio Marini, “Some Italian Importers of British Prints in the 1780s,” pp. 412–22.

“There is little evidence of interest or awareness of British printmaking in Italy before the last quarter of the eighteenth century. In those years, however, things began to change with remarkable speed. The purpose of this article is to draw attention to five importers of British prints—Molini in Florence, Micali in Livorno (Leghorn), Montagnani in Rome, and Viero and Wagner, both in Venice—all of whom produced catalogues of their imported stock within the five years between 1785 and 1789. When considered as a group, these catalogues give evidence of how quickly dealers were able to import newly published stock and how varied tastes were in these years” (412).

N O T E S  A N D  R E V I E W S

• Giorgio Marini, Note of the exhibition catalogue Delfín Rodríguez Ruiz and Helena Pérez Gallardo, eds., Giovanni Battista Piranesi en la Biblioteca Nacional de España (Biblioteca Nacional de España, Madrid, 2019), pp. 444–46.

• Laurence Lhinares, Note on the Print Collection of Horace His de La Salle (1795–1878), occasioned by the exhibition Officier et Gentleman: La Collection Horace His de La Salle (Louvre, 2019–20) and the recent purchase by the Fondation Custodia of a copy of the 1856 sale catalogue of the collector’s prints, pp. 446–50.

• Paul Coldwell, Note on Elizabeth Jacklin, The Art of Print: Three Hundred Years of Printmaking (Tate, 2021), pp. 450–51.

• Rachel Sloan, Note on Kinga Bódi and Kata Bodor, eds., The Paper Side of Art: Eight Centuries of Drawings and Prints in the Collections of the Museum of Fine Arts – Hungarian National Gallery, Budapest (2021), pp. 451–52.

• Anne Leonard, Review of the exhibition catalogue, Rena Hoisington, Aquatint: From Its Origins to Goya (National Gallery of Art / Princeton University Press, 2021), pp. 466–71. The catalogue won the 2022 IFPDA book award and discusses many notable innovators in the aquatint medium, including Giovanni David and Maria Catharina Prestel.