Enfilade

Charles F. Greville, Title-Plate to the Set of Prints of the Portland Vase, 1786, etching and aquatint, 251 × 354 mm
(London: The British Museum)

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

Print Quarterly 43.3 (September 2026)

a r t i c l e s

• Georgii Titov, “Lost and Found: An Unpublished Woodcut by Pamvo Berynda,” pp. 235–45. In identifying the lower half of a 1629 woodcut, The Prison of The Holy Convicts, the author unfolds, “a revealing case study of how early modern prints circulated and were valued within imperial Russian collections” in the eighteenth and nineteenth centuries.

• Domenico Pino, “Filippo Morghen as Print Publisher in Naples: New Documents,” pp. 246–52. This article arises from the discovery of a small, dated letterpress catalogue of Filippo Morghen’s (1730–1807) production, preserved inside a bound copy of his print series Le Antichità di Pozzuoli, Baja e Cuma that surfaced at auction in Rome. Analysed in conjunction with an unpublished privilege application by Morghen, the new document sheds light on his printmaking, and, especially, on his highly prolific activity as a print-publisher in Naples. It significantly expands the limited archival material relating to the artist, including his known commissions, level of involvement and prices of his prints.

• Ann V. Gunn, “Charles F. Greville (1749–1809) and the Print Industry,” pp. 253–63. Gunn looks at the many ways an eighteenth-century gentleman, Charles F. Greville (1749–1809), interacted with the print industry. Through detailed examination of the sales catalogues of his various collections and correspondence, she demonstrates how his practical involvement in printmaking impacted other areas of his life and career, from disseminating visual knowledge of art, antiquarianism, minerology and horticulture to successfully introducing into Parliament an amendment and extension to the copyright law relating to prints and printmakers in 1777. A portion of the article recounts Greville’s campaign to have the Portland Vase and a painting previously attributed to Correggio engraved by Francesco Bartolozzi (1727–1815).

n o t e s  a n d  r e v i e w s

• Guido Scholten, Review of the exhibition catalogued ed. by Andreas Stolzenburg and Iris Wenderholm, Akte, Antike, Anatomie: Zeichnend die Welt erschliessen (Michael Imhof, 2024), pp. 281–83.

• Anthony Griffiths, Review of Martin Rose, Henry Winstanley, 1644–1703: The Last Renaissance Engineer. With a Catalogue Raisonné of His Prints (The Cygnet Press, 2024), p. 287.

• An Van Camp, Review of Vincent Wackenheim, La mort dans tous ses états: Modernité et esthétique des Danses macabres, 1785–1966 (L’Atelier contemporain, 2025), pp. 289–92.

• Timon Screech, Review of the exhibition catalogue by Alfred Haft, Hiroshige: Artist of the Open Road (British Museum Press, 2025), pp. 312–15.