Enfilade

From Cambridge UP:

Cristina Martinez and Cynthia Roman, eds., Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830 (Cambridge: Cambridge University Press, 2024), 292, pages, ISBN: 978-1108844772 (hardcover), $110 / ISBN: 978-1108953535 (online).

A ground-breaking contribution that broadens our understanding of the history of prints, this edited volume assembles international senior and rising scholars and showcases an array of exciting new research that reassesses the history of women in the graphic arts c. 1700 to 1830. Sixteen essays present archival findings and insightful analyses that tell compelling stories about women across social classes and nations who persevered against the obstacles of their gender to make vital contributions as creative and skilled graphic artists, astute entrepreneurs, and savvy negotiators of copyright law in Britain, France, Germany, Holland, Italy, and the United States. The book is a valuable resource for both students and instructors, offers important new perspectives for print scholars and aims to provide impetus for further research. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Cristina S. Martinez is an art historian at the University of Ottawa, specialising in British eighteenth-century art and copyright history. She is the author of the entry on Jane Hogarth in the Oxford Dictionary of National Biography and has received several awards including a Bodleian Library fellowship.

Cynthia E. Roman is Curator of Prints, Drawings and Paintings at the Lewis Walpole Library, Yale University. She is an active and widely published scholar of British art of the eighteenth century. Her work focuses on the history of prints and print collecting, and the work of women and amateur artists.

c o n t e n t s

List of Figures
List of Contributors
Acknowledgments
Frontispiece Figure

Introduction: Hidden Legacies — Cristina S. Martinez and Cynthia E. Roman

Part I | Self-Presentation and Self-Promotion
1  Show-offs: Women’s Self-Portrait Prints, c. 1700 — Madeleine C. Viljoen
2  Maria Hadfield Cosway’s ‘Genius’ for Print: A Didactic, Commercial, and Professional Path — Paris A. Spies-Gans
3  Caroline Watson and the Theatre of Printmaking — Heather McPherson
4  ‘Talent and Untiring Diligence’: The Print Legacy of Angelika Kauffmann, Marie Ellenrieder, and Maria Katharina Prestel — F. Carlo Schmid

Part II | Spaces of Production
5  ‘Living in the Bosom of a Numerous and Worthy Family’: Women Printmakers Learning to Engrave in Late Eighteenth-Century London — Hannah Lyons
6  Divine Secrets of a Printmaking Sisterhood: The Professional and Familial Networks of the Horthemels and Hémery Sisters — Kelsey. D. Martin
7  Yielding an Impression of Women Printmakers in Eighteenth-Century France — Rena M. Hoisington
8  Laura Piranesi ‘Incise’: A Woman Printmaker Following in Her Father’s Footsteps — Rita Bernini
9  Etchings by Ladies, ‘Not Artists’ — Cynthia E. Roman

Part III | Competing in the Market: Acumen in Business and Law
10  Mary Darly, Fun Merchant and Caricaturist — Sheila O’Connell
11  A Changing Industry: Women Publishing and Selling Prints in London, 1740–1800 — Amy Torbert
12  Jane Hogarth: A Printseller’s Imprint on Copyright Law — Cristina S. Martinez
13  Shells to Satire: The Career of Hannah Humphrey (1750–1818) — Tim Clayton
14  Encouraging Rowlandson – The Women Who Mattered — Nicholas JS Knowles
15  Female Printmakers and Printsellers in the Early American Republic: Eliza Cox Akin and Mary Graham Charles — Allison M. Stagg

Index

Book Cover Image: Lou McKeever, 2023, inspired by the title page from Darly’s Comic-Prints of Characters, Caricatures, Macaronies, &c, 1776.