Enfilade

Anonymous artist, Magdalen’s Hospital, or Public Laundry for Washing Blackmoores White, 1758, etching, trimmed within the platemark, 232 × 307 mm (Oxford, Ashmolean Museum).

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

Print Quarterly 42.4 (December 2025)

a r t i c l e s

• Xanthe Brooke, “Spaignolet’s Drawing Book: An Album with Ribera Prints at Knowsley Hall,” pp. 379–89. This article focuses on an unpublished album containing 28 prints mainly by or after Jusepe de Ribera (1591–1652). Brooke seeks to identify the sources and publishers of each impression, explores how the Earl of Derby used the album, and traces the growing taste for Ribera’s work among English collectors in the late seventeenth and the first decades of the eighteenth century.

Anonymous artist, The New and Entertaining Game of the Goose, ca. 1759–87, woodcut, 470 × 360 mm (London: British Library, Creed Collection volume 8).

• Emma Boyd, “The Advent of the Magdalen Hospital: A Rare Satirical Print,” pp. 390–401. This article examines an anonymous etching in the Ashmolean Museum depicting the Magdalen Hospital, a charity for ‘penitent prostitutes’. The author discusses the print’s satirical commentary in relation to the charity’s controversial formation and the debates surrounding it. She also examines the print’s authorship within the context of other satirical prints and depictions of London street figures.

• Susan Sloman, “Gainsborough’s Cottage Belonging to Philip Thicknesse near Landguard Fort,” pp. 426–31. This short article contextualises an early etching by Thomas Gainsborough (1727–1788) from the 1750s, which the author proposes may have served as a subscription ticket for the engraving Landguard Fort, published in August 1754 by Thomas Major (1719–1799). The author also suggests that a painting by Gainsborough long assumed lost never existed.

• Felicity Myrone and Adrian Seville, “Two Unreported Games of the Goose in the Creed Collection in the British Library,” pp. 432–36. This short article describes two unknown examples of the Game of the Goose, one in printed form and the other in manuscript form. The provenance from the collection of London printseller Giles Creed (1798–1858), who specialized in ‘the history of ancient and modern inns, taverns, and coffee-houses’, is briefly traced.

n o t e s  a n d  r e v i e w s

Anonymous artist, published by Matthew and Mary Darly, Tight Lacing, or, Hold Fast Behind, 1 March 1777, etching and engraving, 351 × 247 mm (Farmington, CT: Lewis Walpole Library, Yale University).

• Andaleeb Badiee Banta, Review of Cristina Martinez and Cynthia Roman, Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830 (Cambridge University Press, 2024), pp. 445–47.

• Jean Michel Massing, Review of Anna Lafont, L’art et la race: L’Africain (tout) contre l’œil des Lumières (Les presses du réel, 2019), pp. 447–48.

• Einav Rabinovitch-Fox, Review of Elizabeth Gernerd, The Modern Venus: Dress, Underwear, and Accessories in the Late 18th-Century Atlantic World (Bloomsbury Visual Arts, 2024), pp. 448–49.

• Mathilde Semal, Review of Rolf Reichardt, Éventails symboliques de la Révolution. Sources iconographiques et relations intermédiales (Presses universitaires de Rennes, 2024), pp. 450–52.

• Robert Felfe, Review of Matthew Zucker and Pia Östlund, Capturing Nature: 150 Years of Nature Printing (Princeton Architectural Press, 2022), pp. 452–54.

• Sarah Thompson, Review of Timothy Clark, ed., Late Hokusai: Society, Thought, Technique, Legacy (British Museum, 2023), pp. 479–83.