Enfilade

With apologies for not posting this much sooner! –CH

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

Print Quarterly 43.2 (June 2026)

a r t i c l e s

Attributed to Martin Tyroff, Crown Prince Frederick of Denmark and Norway, ca. 1740, pen and grey ink and grey wash, 152 × 101 mm (Augsburg, State and City Library of Augsburg).

• Victoria Fernandez, “On Conserving and Remounting the Edmond de Rothschild Collection at the Louvre,” pp. 158–68. This article examines the Louvre’s conservation campaign since 2016 to conserve and remount the roughly 35,000 prints and 865 drawings bequeathed by Baron Edmond de Rothschild (1845–1934), with respect to the stipulations mentioned in the deed of gift. The author also illustrates many unique findings and observations, including reattributions. Readers of Enfilade may be interested to know that part of the collection includes those that belonged to the donor’s father, Baron James de Rothschild (1792–1868), who owned the complete printed oeuvre of Daniel Nikolaus Chodowiecki (1726–1801).

• Karl-Georg Pfändtner, “Denmark’s Sea Trade: A Preparatory Drawing and Martin Tyroff’s Related Print,” pp. 169–72. This short article connects a drawing in the Staats- und Stadtbibliothek Augsburg with the engraved portrait of Crown Prince Frederick of Denmark and Norway (1723–66) by Martin Tyroff (1704–59). Crown Prince Frederick ascended the throne of Denmark and Norway in 1746. The print served as the frontispiece to a book of Martin Luther’s writings, Das Nutzbareste aus denen gesamten Erbaulichen Schriften Des seligen Herrn D. Martini Lutheri, published in 1740. Originally from Nuremberg, but active for years in Augsburg, Tyroff married the daughter of the Nuremberg engraver and publisher Christoph Weigel, and moved back to Nuremberg himself. The iconography highlights trade via Danish settlements in India and forts on the Danish Gold Coast, in present-day Ghana, as well as missionary activity there.

n o t e s  a n d  r e v i e w s

• Daan van Heesch, Review of Élisabeth Antoine-König and Pierre-Yves Le Pogam, eds., Figures du Fou. Du Moyen Âge aux Romantiques (Musée du Louvre and Éditions Gallimard, 2024), pp. 173–75.

• Richard Stephens, Review of François Marandet, Louis Chéron: L’ambition du dessin parfait (Musée des Beaux-Arts de Caen, 2021), pp. 183–85.

• Esther Chadwick, Review of Elizabeth Wyckoff and Sarah Weston, Blake (Yale Center for British Art, 2025), pp. 185–87.

• Thierry Depaulis, Review of Sara Benvenuti and Francesca Volpini, L’arte del gioco. Giochi antichi dalla Collezione Crippa della Raccolta Bertarelli di Milano (Silvana Editoriale, 2024), pp. 187–89.

• Ellis Tinios, Review of Hokusai’s Method (Thames and Hudson, 2024), pp. 189–90.

• Louis Marchesano, Review of Maxime Préaud, Louis le Grand, la terreur et l’admiration de l’univers. Les almanachs muraux publiés à Paris sous le règne personnel de Louis XIV (1661/1662–1715/1716) (Bibliothèque Nationale de France and Le Passage, 2023), pp. 203–07.

• Tim Clayton, Review of Esther Chadwick, The Radical Print: Art and Politics in Late Eighteenth-Century Britain (Paul Mellon Centre for Studies in British Art, 2024), pp. 208–12.