Enfilade

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

Print Quarterly 41.3 (September 2024)

a r t i c l e s

Anonymous artist, A Bavarian Man and A Bavarian Woman, ca. 1759, watercolour, 269 × 190 mm (Welbeck, Nottinghamshire: Welbeck Abbey).

• Derek Adlam and Maureen Cassidy-Geiger, “The Duke of Portland’s Album of Masquerade Costumes Worn in Warsaw in 1759”, pp. 268–84.
This article examines an album of watercolours in the library of the Dukes of Portland at Welbeck Abbey near Worksop, Nottinghamshire, depicting costumed figures and the print sources that inspired them. Seemingly related to the Polish masked balls and banquets mounted in Warsaw on 26 and 27 February 1759 by Jerzy August Mniszech (1715–78), King August III, the album is closely related to imagery seen in Abraham a Sancta Clara’s Neu-eröffnete Welt-Galleria (Nuremberg, 1703), among others, listed in an Appendix at the end of the article. Its commission and creator remain unknown.

n o t e s  a n d  r e v i e w s

• Daniel Godfrey, Review of Anna Marie Roos, Martin Lister and his Remarkable Daughters: The Art of Science in the Seventeenth Century (Bodleian Library, 2019), pp. 313–16.

• Antoinette Friedenthal, Review of Erminia Gentile Ortona, Le Lettere di Pierre-Jean Mariette ‘Eccellente nella Intelligenza delle Tre Arti’ a Giovanni Gaetano Bottari. Il Codice 1606 (32-E-27) della Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana (Bardi Edizioni and Accademia Nazionale dei Lincei, 2022), pp. 316–19.

Letitia Byrne, Title-Page to the series ‘Animals’, 1795, etching, 145 × 181 mm (London: British Museum).

• Andaleeb Badiee Banta, Review of Artemis Alexiou and Rose Roberto, eds., Women in Print 1: Design and Identities (Peter Lang, 2022) and Caroline Archer-Parré, Christine Moog and John Hinks, eds., Women in Print 2: Production, Distribution and Consumption (Peter Lang, 2022), pp. 319–20.

• Antony Griffiths, Review of Nigel Tattersfield, Dealing in Deceit: Edwin Pearson of the ‘Bewick Repository Bookshop’, 1838–1901 (The Bewick Society, 2020), pp. 320–21.

• Suzanne Boorsch, Review of Arianna Quaglio, Linda Schädler and Patrizia Keller, eds., From Albrecht Dürer to Andy Warhol: Masterpieces from the Graphische Sammlung ETH Zürich (MASI Lugano and Graphische Sammlung ETH Zürich, 2023) and Elizabeth Nogrady and Alyx Raz, eds., Making & Meaning: The Frances Lehman Loeb Art Center / Vassar College (Hirmer, 2023), pp. 327–30.

• Rena Hoisington, Review of Edouard Kopp, Elizabeth Rudy and Kristel Smentek, eds., Dare to Know: Prints and Drawings in the Age of the Enlightenment (Harvard Art Museums, 2022), pp. 346–50.

• Tim Clayton, Review of Allison Stagg, Prints of a New Kind: Political Caricature in the United States, 1789–1828 (Pennsylvania State University Press, 2023), pp. 351–54; recipient of Ewell L. Newman Book Award from the American Historical Print Collectors Society.

b o o k s  r e c e i v e d

• Clarissa von Spee and Yiwen Liu, eds., China’s Southern Paradise: Treasures from the Lower Yangzi Delta (Cleveland Museum of Art, 2024), pp, 340–41.

• Iris Brahms, ed., Marginale Zeichentechniken: Pause, Abklatsch, Cut&Paste als ästhetische Strategien in der Vormoderne (De Gruyter, 2022), p. 341. The book explores ‘marginal drawing practices’ through a collection of essays focusing on works on paper from the sixteenth to eighteenth centuries.