Enfilade

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

Print Quarterly 41.4 (December 2024)

a r t i c l e s

Nicholas de Courteille, presumably after Jean Pierre Bouch, Jean Charles Pierre Lenoir, 1779, soft-ground etching, 308 × 235 mm (Paris, Musée Carnavalet, Histoire de Paris).

• Dorinda Evans, “Jean Pierre Bouch, A Rediscovered Polymath”, pp. 394–407. This article attempts to compile the real identity and life story of the French artist Jean Pierre Bouch (1765–1820), whose diverse career included being a balloonist and pyrotechnician as well as portrait artist.

n o t e s  a n d  r e v i e w s

• Christian Rümelin, Review of Jean-Gérald Castex, ed., Graver pour le Roi: Collections Historiques de la Chalcographie du Louvre (Louvre éditions and Lienart éditions, 2019), pp. 434–37.
• Evonne Levy, Review of Bettina Wassenhoven, Gravuren nach Skulpturen – Skulpturen nach Gravuren (Konigshausen & Neumann, 2021), pp. 437–38.
• Simon McKeown, Review of Rosa de Marco and Agnès Guiderdoni, eds., Eliciting Wonder: The Emblem on the Stage (Librairie Droz, 2022), pp. 438–41.
• Clarissa von Spee, Review of Anne Farrer and Kevin McLoughlin, eds., The Handbook of the Colour Print in China, 1600–1800 (Brill, 2022), pp. 441–45.
• Nicholas JS Knowles, “The First British Caricature in Aquatint?,” pp. 445–47.
• Bénédicte Maronnie, Reviews of Chiara Casarin and Pierluigi Panza, eds., Giambattista Piranesi: Architetto senza tempo / An Architect out of Time (Silvana Editoriale, 2020); Moritz Wullen and Georg Schelbert, eds., Das Piranesi-Prinzip (E.A. Seeman Verlag, 2020); and Carolyn Yerkes and Heather Hyde Minor, Piranesi Unbound (Princeton University Press, 2020), pp. 469–73.

b o o k s  r e c e i v e d

• Jennifer Milam and Nicola Parsons, eds., Making Ideas Visible in the Eighteenth Century (University of Delaware Press, 2021), p. 460.
• Ian Haywood, Queen Caroline and the Power of Caricature in Georgian England (Palgrave Macmillan, 2023), p. 460.