Enfilade

David Lucas, after John Constable, A Mill, 1829, mezzotint, 182 × 250 mm
(Cambridge, Fitzwilliam Museum, inv. P.145-1954)

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

Print Quarterly 42.3 (September 2025)

a r t i c l e s

• Elenor Ling and Harry Metcalf, “John Constable’s Working Relationship with David Lucas on the English Landscape Series,” pp. 272–85. This article examines the collaborative partnership between John Constable (1776–1837) and his engraver David Lucas (1802–81) using the mezzotint print series English Landscape as a case study, based particularly on the technical examination of various impressions and plates.

• Niklas Leverenz, “Lithographs from Shanghai of the East Turkestan Engravings, 1890,” pp. 301–06. This short article examines the popularity of the East Turkestan engravings depicting the 1755–60 Qianlong Emperor’s conquest. Leverenz specifically discusses a set of 34 photolithographs printed in 1890 by the photographer Herman Salzwedel (active c. 1877–1904) in Shanghai.

n o t e s  a n d  r e v i e w s

Claude Gillot, The Speculator Raised by Fortune to the Highest Degree of Wealth and Abundance, 1710–11, counterproof of engraving, with additions in red chalk, 255 × 220 mm (Paris, Private collection).

J.-Louis Darcis, after Guillaume Lethière, Portrait of Jean Jacques Rousseau, 1795, engraving, platemark 355 × 305 mm, page 440 × 320 mm (Paris, Bibliothèque Nationale de France).

• Dagmar Korbacher, Review of Andaleeb Badiee Banta, Alexa Griest and Theresa Kutasz Christiensen, eds., Making Her Mark: A History of Women Artists in Europe, 1400–1800 (Goose Lane Editions, 2023), pp. 307–10.
• Daniel Godfrey, Review of Gwendoline de Mûelenaere, Early Modern Thesis Prints in the Southern Netherlands: An Iconological Analysis of the Relationship between Art, Science, and Power (Université Catholique de Louvain, 2022), pp. 310–12.
• Meredith M. Hale, Review of Julie Farguson, Visualising Protestant Monarchy: Ceremony, Art and Politics after the Glorious Revolution, 1689–1714 (The Boydell Press, 2021), pp. 313–15.
• Rena M. Hoisington, Review of Jennifer Tonkovich, Claude Gillot: Satire in the Age of Reason (Paul Holberton, 2023), pp. 315–17.
• Michael Snodin, Review of Orsola Braides, Giovanni Maria Fara, and Alessia Giachery, eds., L’arte di tradurre l’arte: John Baptist Jackson incisore nella Venezia del Settecento (Leo S. Olschki, 2024), pp. 317–19.
• Benito Navarrete Prieto, Review of Ana Hernández Pugh and José Manuel Matilla, Del lapicero al buril. El dibujo para grabar en tiempos de Goya (Museo del Prado, 2023), pp. 320–24.
• Giorgio Marini, Review of Ilaria Miarelli Mariani, Tiziano Casola, Valentina Fraticelli, Vanda Lisanti, and Laura Palombaro, eds., La storia dell’arte illustrata e la stampa di traduzione tra il XVIII e il XIV secolo (Campisano Editore, 2022), pp. 324–28.
• Julie Mellby, Review of Roberta J. M. Olson, Audubon as Artist: A New Look at The Birds of America (Reaktion Books, 2024), pp. 328–29.
• Thea Goldring, Review of Esther Bell and Olivier Meslay, eds., Guillaume Lethière (Clark Art Institute, 2024), pp. 347–52.