Enfilade

Newly available in paperback from Liverpool UP:

Caroline Archer-Parré and Malcolm Dick, eds., Pen, Print, and Communication in the Eighteenth Century (Liverpool: Liverpool University Press, 2020), 256 pages, ISBN: 978-1789622300 (hardcover), $150 / ISBN: 978-1802078800 (paperback), $50.

During the eighteenth century there was a growing interest in recording, listing, and documenting the world, whether for personal interest and private consumption, or general record and the greater good. Such documentation was done through both the written and printed word. Each genre had its own material conventions and spawned industries which supported these practices. This volume considers writing and printing in parallel: it highlights the intersections between the two methods of communication; discusses the medium and materiality of the message; considers how writing and printing were deployed in the construction of personal and cultural identities; and explores the different dimensions surrounding the production, distribution, and consumption of private and public letters, words, and texts during the eighteenth-century. In combination the chapters in this volume consider how the processes of both writing and printing contributed to the creation of cultural identity and taste, assisted in the spread of knowledge and furthered personal, political, economic, social, and cultural change in Britain and the wider-world. This volume provides an original narrative on the nature of communication and brings a fresh perspective on printing history, print culture, and the literate society of the Enlightenment.

Caroline Archer-Parré is Professor of Typography at Birmingham City University, Director of the Centre for Printing History & Culture, and Chairman of the Baskerville Society. She is the author of The Kynoch Press, 1876–1982: The Anatomy of a Printing House (British Library, 2000); Paris Underground (MBP, 2004); and Tart Cards: London’s Illicit Advertising Art (MBP, 2003). Caroline is currently co-investigator on the AHRC-funded project Letterpress Printing: Past, Present, Future.

Malcolm Dick is Director of the Centre for West Midlands History at the University of Birmingham. He directed two history projects in Birmingham between 2000 and 2004: the Millennibrum Project, which created a multi-media archive of post-1945 Birmingham history, and Revolutionary Players, which produced an online resource of the history of the West Midlands region. Malcolm has published books on Joseph Priestley, Matthew Boulton, and the history of Birmingham. He co-directs the Centre for Printing History & Culture.

c o n t e n t s

List of Illustrations
Acknowledgements

Introduction — Caroline Archer-Parré and Malcolm Dick
1  The Growth of Copperplate Script: Joseph Champion and The Universal Penman — Nicolas Barker
2  Authorship in Script and Print: The Example of Engraved Handwriting Manuals of the Eighteenth Century — Giles Bergel
3  Writing and the Preservation of Cultural Identity: The Penmanship Manuals of Zaharija Orfelin — Persida Lazarević Di Giacomo
4  ‘The Most Beautiful Hand’: John Byrom and the Aesthetics of Shorthand — Timothy Underhill
5  An Archaeology of the Letter Writing: The Correspondence of Aristocratic Women in Late Eighteenth- and Early Nineteenth-Century England — Ruth Larsen
6  Private Pleasures and Portable Presses: Do-It-Yourself Printers in the Eighteenth Century — Caroline Archer-Parré
7  Performance and Print Culture: Two Eighteenth-Century Actresses and Their Image Control — Joanna Jarvis
8  Script, Print, and the Public/Private Divide: Sir David Ochterlony’s Dying Words — Callie Wilkinson
9  Identity, Enigma, Assemblage: John Baskerville’s Vocabulary, or Pocket Dictionary — Lynda Muggleston
10  Marigolds Not Manufacturing: Plants, Print, and Commerce in Eighteenth-Century Birmingham — Elaine Mitchell
11  Tourist Experience and the Manufacturing Town: James Bisset’s Magnificent Directory of Birmingham — Jenni Dixon
12  Forging an Identity on the Periphery of the Enlightenment: Malta in Print in the Eighteenth-Century — Robert Thake
13  Perceptions of England: The Production and Reception of English Theatrical Publications in Germany and the Netherlands during the Eighteenth Century — Emil Rybczak
14  Print Culture and Distribution: Circulating the Federalist Papers in Post-Revolutionary America — Peter Pellizzari
15  The Serif-less Letters of John Soane — Jon Melton

Notes on the Contributors
Index

From Cambridge UP:

Cristina Martinez and Cynthia Roman, eds., Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830 (Cambridge: Cambridge University Press, 2024), 292, pages, ISBN: 978-1108844772 (hardcover), $110 / ISBN: 978-1108953535 (online).

A ground-breaking contribution that broadens our understanding of the history of prints, this edited volume assembles international senior and rising scholars and showcases an array of exciting new research that reassesses the history of women in the graphic arts c. 1700 to 1830. Sixteen essays present archival findings and insightful analyses that tell compelling stories about women across social classes and nations who persevered against the obstacles of their gender to make vital contributions as creative and skilled graphic artists, astute entrepreneurs, and savvy negotiators of copyright law in Britain, France, Germany, Holland, Italy, and the United States. The book is a valuable resource for both students and instructors, offers important new perspectives for print scholars and aims to provide impetus for further research. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Cristina S. Martinez is an art historian at the University of Ottawa, specialising in British eighteenth-century art and copyright history. She is the author of the entry on Jane Hogarth in the Oxford Dictionary of National Biography and has received several awards including a Bodleian Library fellowship.

Cynthia E. Roman is Curator of Prints, Drawings and Paintings at the Lewis Walpole Library, Yale University. She is an active and widely published scholar of British art of the eighteenth century. Her work focuses on the history of prints and print collecting, and the work of women and amateur artists.

c o n t e n t s

List of Figures
List of Contributors
Acknowledgments
Frontispiece Figure

Introduction: Hidden Legacies — Cristina S. Martinez and Cynthia E. Roman

Part I | Self-Presentation and Self-Promotion
1  Show-offs: Women’s Self-Portrait Prints, c. 1700 — Madeleine C. Viljoen
2  Maria Hadfield Cosway’s ‘Genius’ for Print: A Didactic, Commercial, and Professional Path — Paris A. Spies-Gans
3  Caroline Watson and the Theatre of Printmaking — Heather McPherson
4  ‘Talent and Untiring Diligence’: The Print Legacy of Angelika Kauffmann, Marie Ellenrieder, and Maria Katharina Prestel — F. Carlo Schmid

Part II | Spaces of Production
5  ‘Living in the Bosom of a Numerous and Worthy Family’: Women Printmakers Learning to Engrave in Late Eighteenth-Century London — Hannah Lyons
6  Divine Secrets of a Printmaking Sisterhood: The Professional and Familial Networks of the Horthemels and Hémery Sisters — Kelsey. D. Martin
7  Yielding an Impression of Women Printmakers in Eighteenth-Century France — Rena M. Hoisington
8  Laura Piranesi ‘Incise’: A Woman Printmaker Following in Her Father’s Footsteps — Rita Bernini
9  Etchings by Ladies, ‘Not Artists’ — Cynthia E. Roman

Part III | Competing in the Market: Acumen in Business and Law
10  Mary Darly, Fun Merchant and Caricaturist — Sheila O’Connell
11  A Changing Industry: Women Publishing and Selling Prints in London, 1740–1800 — Amy Torbert
12  Jane Hogarth: A Printseller’s Imprint on Copyright Law — Cristina S. Martinez
13  Shells to Satire: The Career of Hannah Humphrey (1750–1818) — Tim Clayton
14  Encouraging Rowlandson – The Women Who Mattered — Nicholas JS Knowles
15  Female Printmakers and Printsellers in the Early American Republic: Eliza Cox Akin and Mary Graham Charles — Allison M. Stagg

Index

Book Cover Image: Lou McKeever, 2023, inspired by the title page from Darly’s Comic-Prints of Characters, Caricatures, Macaronies, &c, 1776.

Part of the Princeton Economic History of the Western World, from Princeton UP:

Geoffrey Hodgson, The Wealth of a Nation: Institutional Foundations of English Capitalism (Princeton: Princeton University Press, 2023), 304 pages, ISBN: 978-0691247014, £35 / $40.

How the development of legal and financial institutions transformed Britain into the world’s first capitalist country

Modern capitalism emerged in England in the eighteenth century and ushered in the Industrial Revolution, though scholars have long debated why. Some attribute the causes to technological change while others point to the Protestant ethic, liberal ideas, and cultural change. The Wealth of a Nation reveals the crucial developments in legal and financial institutions in the seventeenth and eighteenth centuries that help to explain this dramatic transformation.

Offering new perspectives on the early history of capitalism, Geoffrey Hodgson describes how, for the emerging British economy, pressures from without were as important as evolution from within. He shows how intensive military conflicts overseas forced the state to undertake major financial, administrative, legal, and political reforms. The resulting institutional changes not only bolstered the British war machine—they fostered the Industrial Revolution. Hodgson traces how Britain’s war capitalism led to an expansion of its empire and a staggering increase in the slave trade, and how the institutional innovations that radically transformed the British economy were copied and adapted by countries around the world. A landmark work of scholarship, The Wealth of a Nation sheds light on how external factors such as war gave rise to institutional arrangements that facilitated finance, banking, and investment, and offers a conceptual framework for further research into the origins and consolidation of capitalism in England.

Geoffrey M. Hodgson is professor emeritus in management at Loughborough University London and editor-in-chief of the Journal of Institutional Economics. His many books include Liberal Solidarity, Conceptualizing Capitalism, and Darwin’s Conjecture.

Part of the Lewis Walpole Series in Eighteenth-Century Culture and History, from Yale UP:

Chloe Wigston Smith, Novels, Needleworks, and Empire: Material Entanglements in the Eighteenth-Century Atlantic World (New Haven: Yale University Press, 2024), 312 pages, ISBN: 978-0300270785, $65.

The first sustained study of the vibrant links between domestic craft and British colonialism

In the eighteenth century, women’s contributions to empire took fewer official forms than those collected in state archives. Their traces were recorded in material ways, through the ink they applied to paper or the artifacts they created with muslin, silk threads, feathers, and shells. Handiwork, such as sewing, knitting, embroidery, and other crafts, formed a familiar presence in the lives and learning of girls and women across social classes, and it was deeply connected to colonialism.

Chloe Wigston Smith follows the material and visual images of the Atlantic world that found their way into the hands of women and girls in Britain and early America—in the objects they made, the books they held, the stories they read—and in doing so adjusted and altered the form and content of print and material culture. A range of artifacts made by women, including makers of color, brought the global into conversation with domestic crafts and consequently placed images of empire and colonialism within arm’s reach. Together, fiction and handicrafts offer new evidence of women’s material contributions to the home’s place within the global eighteenth century, revealing the rich and complex connections between the global and the domestic.

Chloe Wigston Smith is professor of eighteenth-century literature at the University of York, where she teaches in the Department of English and the Centre for Eighteenth Century Studies. She is the author of Women, Work, and Clothes in the Eighteenth-Century Novel.

c o n t e n t s

List of Illustrations

Introduction: Entangled Forms
1  Making the Four Corners of the Globe, Oroonoko, and Euphemia
2  Small Marks in Thread: Samplers, Moll Flanders, and Material Expression
3  Global Domestic Objects: Embroidered Maps, Lydia, and The Female American
4  Pins, Needles, and Wampum in Mary Rowlandson and Hobomok
5  Companionship in Black Attendant Needlework, The History of Sir George Ellison, and The Woman of Colour
Coda: Material Entanglements, Then and Now

Notes
Acknowledgments
Index

From Silvana Editoriale (and on sale until 10 March) . . .

Jean-Luc Bordeaux, François Le Moyne (1688–1737), Opera completa: New Findings and Legacy (Milan: Silvana Editoriale, 2024), 352 pages, ISBN: 978-8836652310, €95.

First Painter to the king in 1736 for only a few months before his tragic death, François Le Moyne had a career as short as it was prolific. A large number of works by this exceptional representative of French Rococo had been commissioned by the high clergy, the powerful Duke of Antin—official representative of King Louis XV—by members of the high aristocracy like the Prince of Conti or the Duke of Rohan or rich fermiers généraux like François Berger or Abraham Peyrenc de Moras, or even by the elite of great collectors or connoisseurs like Mariette, La Live de July, and Lempereur.

Teacher of Charles-Joseph Natoire and François Boucher and a contemporary of Antoine Watteau and Jean-François de Troy, Le Moyne reached the height of his glory with his Apotheosis of Hercules, painted between 1732 and 1736 on the immense ceiling of the Salon d’Hercule, located between La Chapelle Royale and the royal apartments of the Château de Versailles. After so many years spent in oblivion, Le Moyne is finally recognized today as one of the major artists of the 18th century, exerting a seminal influence on the following generations.

Unfortunately, only few of the works that Le Moyne realized at the beginning of his career, between 1710 and 1715, have been identified. Nonetheless, he left an important corpus of landscapes, religious works, and courtship scenes. He is considered one of the greatest draftsmen of all time and one of the best European artists of illusionistic ceiling painting since the time of Pietro da Cortona and Charles Le Brun. Moreover, Le Moyne contributed with his easel paintings and his technique to the creation of a new, more seductive model for the representation of the female nude in Europe. Lastly, on a technical level, he brightened the palette of French painting and realized sketches with a particularly quick and agile brushstroke.

Nearly forty years after his first monograph devoted to the painter, Professor Jean-Luc Bordeaux proposes a renewed survey of the oeuvre of François Le Moyne (1688–1737). Bordeaux analyses Le Moyne’s contributions to the French rococo as well as lesser-known aspects of his artistic production and career. With almost 140 paintings and 250 drawings, this new catalogue raisonné is an extended edition of the one published in 1984, with significant additions. It also includes an appendix of around twenty pages that describes a considerable amount of works by Le Moyne, now lost but attributed to him by famous collectors of the time and 18th century experts such as Gersaint, Mariette, Paillet, and Remy.

From De Gruyter:

Charlotte Guichard, Watteau – kolonial: Herrschaft, Handel und Galanterie im Frankreich des Régence / Colonial Watteau: Empire, Commerce, and Galanterie in Regency France (Berlin: Deutscher Kunstverlag, 2022), 128 pages, ISBN: 978-3422990463, €17 / $20. English and German.

What were the early visions of Empire in Regency France? The book offers a interpretation of Jean-Antoine Watteau’s Pilgrimage to the Isle of Cythera (1717) by framing it in the context of French colonial expansion in the years of the Regency. Born in Louis XIV’s reign, galant aesthetics contributed to frame the colonial encounter in French America. Fantasies of maritime departure, embarkation and/or debarkation, also expressed a longing for colonial travel and exploration. The imperial imagination fueled with codes of galanterie was very developed in the circles of Watteau’s amateurs. From Watteau’s Pilgrimage to the Isle of Cythera (1717) to its visual reenactment in 1763, the book argues that galanterie served as a visual and conceptual model of French commercial and colonial relations.

Wie sahen die frühen imperialen Visionen im Frankreich der Régence aus? Das Buch bietet eine neue und auch provokative Deutung von Jean-Antoine Watteaus Pilgerfahrt zur Insel Cythera (1717), indem es das Werk in den Kontext der französischen kolonialen Expansion in den Jahren der Régence stellt. Die galante Ästhetik, die während der Herrschaft und im Imperium Ludwigs XIV. entstand, trug dazu bei, die koloniale Begegnung in Französisch-Amerika zu gestalten. Die Fantasien vom Aufbruch zur See, vom Einschiffen oder Ausschiffen, allesamt Merkmale des Gemäldes, drückten auch die Sehnsucht nach kolonialen Reisen und Entdeckungen aus. Die imperiale Imagination, die sich aus den Codes der Galanterie speiste, war in den Kreisen von Watteaus amateurs, die ihrerseits den Modernen nahestanden, die neue ästhetische Formen in Kunst und Literatur förderten, sehr ausgeprägt. Von Watteaus Pilgerfahrt zur Insel Cythera (1717) bis zu ihrer visuellen Nachstellung im Jahr 1763 diente die Galanterie als visuelles und konzeptionelles Modell der französischen Handels- und Kolonialbeziehungen.

Charlotte Guichard, Research Professor at the Centre National de la Recherche Scientifique, Paris.

From Yale UP:

David Blight, with Yale and Slavery Research Project, foreword by Peter Salovey, Yale and Slavery: A History (New Haven: Yale University Press, 2024), 448 Pages, ISBN: 978-0300273847, $35.

A comprehensive look at how slavery and resistance to it have shaped Yale University

Award-winning historian David W. Blight, with the Yale and Slavery Research Project, answers the call to investigate Yale University’s historical involvement with slavery, the slave trade, and abolition. This narrative history demonstrates the importance of slavery in the making of this renowned American institution of higher learning.

Drawing on wide-ranging archival materials, Yale and Slavery extends from the century before the college’s founding in 1701 to the dedication of its Civil War memorial in 1915, while engaging with the legacies and remembrance of this complex story. The book brings into focus the enslaved and free Black people who have been part of Yale’s history from the beginning—but too often ignored in official accounts. These individuals and their descendants worked at Yale; petitioned and fought for freedom and dignity; built churches, schools, and antislavery organizations; and were among the first Black students to transform the university from the inside.

Always alive to the surprises and ironies of the past, Yale and Slavery presents a richer and more complete history of Yale, the third-oldest college in the country, showing how pillars of American higher education, even in New England, emerged over time intertwined with the national and international history of racial slavery.

David W. Blight is Sterling Professor of History and director of the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition at the MacMillan Center at Yale. The Yale and Slavery Research Project was convened in 2020.

This collection of drawings of Rome by Filippo Juvarra is published as part of the series FONTES: Text- und Bildquellen zur Kunstgeschichte 1350–1750, from arthistoricum.net, where the full PDF is available for free.

Cristina Ruggero, Disegni di Prospettiva Ideale (1732): Un omaggio di Filippo Juvarra ad Augusto il Forte e i rapporti fra le corti di Roma, Torino, Dresda (Heidelberg: arthistoricum.net, 2023), 456 pages, ISBN: 978-3985010851.

Nella primavera del 1732 Filippo Juvarra spediva da Roma un album con 41 Disegni di Prospettiva Ideale destinato ad Augusto il Forte, principe elettore sassone e re di Polonia. Latore del dono doveva essere Antonio Giuseppe Gabaleone conte di Wackerbarth Salmour—il nobile torinese naturalizzato in Sassonia—che in quel momento era nella città pontificia in missione segreta per suo conto. L’album conservato nel Kupferstich-Kabinett di Dresda celebra l’esemplarità di Roma nei secoli, laddove, attraverso i temi affrontati, le composizioni scenografiche e la tecnica si sviluppa una narrazione di grande forza evocativa, a ulteriore conferma delle poliedriche qualità di Juvarra come grande regista delle arti. I disegni sono pubblicati qui per la prima volta integralmente assieme ad alcune lettere inedite che aiutano a far luce su un episodio artistico che coinvolse le corti di Roma, Torino e Dresda.

Cristina Ruggero è attualmente collaboratrice scientifica del progetto Antiquitatum Thesaurus presso la Berlin-Brandeburgische Akademie der Wissenschaften. Oltre alle sue pubblicazioni su Juvarra, studia da anni la ricezione dell’antico e le reti culturali e artistiche tra le corti europee nel XVIIe XVIII secolo. Ha collaborato con rinomate istituzioni internazionali quali la Bibliotheca Hertziana e l’Università La Sapienza di Roma, il Zentralinstitut für Kunstgeschichte di Monaco e l’Italian Academy at Columbia University di New York.

c o n t e n t s

Page preliminari
Indice
Ringraziamenti

• Introduzione
• Il libro di Disegni di Prospettiva Ideale nel Kupferstich-Kabinett di Dresda
• Catalogo dei disegni
• Filippo Juvarra (1678–1736): l’architetto e i suoi doni di grafica
• Augusto il Forte (1670–1733): un sovrano cultore delle arti
• Giuseppe Antonio Gabaleone conte di Wackerbarth–Salmour (1685–1761) e il suo ruolo di intermediario
• I Disegni di Prospettiva Ideale tra capriccio e seduzione
• Conclusione

• An homage from Filippo Juvarra to August the Strong and the relationships between the courts of Rome, Turin, and Dresden

Abbreviazioni
Bibliografia
Referenze fotografiche
Indice dei nomi