New Book | European Sculpture in the Collection of His Majesty The King
Distributed by Yale University Press:
Jonathan Marsden, European Sculpture in the Collection of His Majesty The King (London: Modern Art Press in association with the Royal Collection Trust, 2025), 4 volumes, 1648 pages, ISBN: 978-1738487813, £350 / $450.
This four-volume publication marks the completion of one of the most ambitious stages in the long-term task of cataloguing sculpture in the Royal Collection.
The scope of the catalogue—covering sculpture in all materials from the fifteenth to the late twentieth century—is unprecedented. Incorporating countless new attributions and identifications and the results of conservation and scientific examination, the catalogue will be an indispensable work of reference for all students of post-medieval sculpture, impressive not only in the quality of its scholarship but also for the extent and depth of the documentation. Highlights include an exceptional group of bronze busts from the Italian and Northern Renaissance, the first bronze casts of ancient sculpture to be made in Britain, the best ensemble of French seventeenth- and eighteenth-century bronzes outside France, unrivalled examples of English portrait sculpture from the seventeenth century onwards and the most complete surviving collection of Victorian sculpture. With an introductory survey covering the relationships between British monarchs and sculptors since the seventeenth century and the impact of sculpture in the interiors of the royal palaces over the same period, the admirably clear and engaging text is essential reading for students of royal collecting. It is accompanied by almost 2,000 illustrations, most of which have been commissioned for this book.
Jonathan Marsden was Director of the Royal Collection and Surveyor of The Queen’s Works of Art from 2010 to 2017, having served as Deputy Surveyor from 1996. Prior to this, he worked for the National Trust as a Historic Buildings Representative in North Wales and Oxfordshire.
New Book | Architecture and Artifice
Distributed by Yale UP:
Christine Casey, Architecture and Artifice: The Crafted Surface in Eighteenth-Century Building Practice (London: Paul Mellon Centre for Studies in British Art, 2025), 208 pages, ISBN: 978-1913107482, £45 / $60.
Revealing the materials and craftsmanship that shaped the look of eighteenth-century architecture in Britain and Ireland
This book uncovers the overlooked material practices that were crucial to architectural production in the eighteenth century. Centred on the architecture of England and Ireland, it examines the facing materials that define the distinctive character of cities and regions. Focusing on the final stages of construction—the external façade and interior finishes in stone, plaster, and wood—Architecture and Artifice combines archival research with insights from architectural conservation to reveal the hidden techniques behind these structures. It explores the lives of craftsmen, uncovering the unwritten standards that guided their work and argues for the agency of materials and craft in shaping the meanings of eighteenth-century buildings. Featuring a cast of lesser-known craftsmen alongside new perspectives on iconic structures such as Chatsworth, the Cambridge Senate House, and Dublin’s Parliament House, the book introduces a wealth of previously unpublished archival material uncovering the intricate processes and people behind the era’s most enduring buildings.
Christine Casey is a professor of architectural history and fellow at Trinity College Dublin. She is a member of the Royal Irish Academy and an honorary member of the Royal Institute of the Architects of Ireland.
Exhibition | Le Petit Salon
Now on view at the Middlebury College Museum of Art:
Le Petit Salon: The Journey of an 18th-Century Room from Paris to Vermont
Middlebury College Museum of Art, 8 July — 7 December 2025
The Middlebury College Museum of Art possesses a jewel of French neoclassicism, Le Petit Salon, a delicately painted, paneled room made around 1776 for a Parisian mansion. It was designed by Pierre-Adrien Pâris ( 1745–1819), subsequently the architect of court fêtes for Louis XVI and Marie-Antoinette. His client was the duc d’Aumont, a renowned collector and patron of the arts, who had the panels installed in his Paris home, now the Hôtel de Crillon on Place de La Concorde. Gifted to Middlebury in 1959, but held in storage since the 1990s, the room will be reassembled for the first time in three decades.
The exhibition follows the journey of Le Petit Salon from Paris to Middlebury via Manhattan, where for fifty years it formed part of the decor of the Bliss family’s Gilded Age mansion. At Middlebury, the Petit Salon became part of Le Château, the college’s French language dorm, itself a fanciful recreation of a 16th-century Norman manoir. The exhibition incorporates Pâris’s 1776 exquisite watercolor elevations of Aumont’s mansion, as well as studies from his long educational sojourn in Rome and Naples. Included in the exhibition are loans from Bowdoin College, the Metropolitan Museum of Art, the Cooper-Hewitt National Design Museum, and the Fine Arts Museum of Besançon.
Gabriel Wick, Le Petit Salon: The Journey of an 18th-Century Room from Paris to Vermont (Saint-Remy-en-l’Eau: Monelle Hayot, 2025), 192 pages, €35.
Exhibition | Valkenburg — Willem de Rooij
Dirk Valkenburg, Study of Cashews, Maracujas, a Tropical Chicken Snake, and an Ameiva Lizard from Suriname, detail, 1706–08, oil on canvas, 40 × 48 cm (Musée des Beaux-Arts de Quimper).
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Now on view at Utrecht’s Centraal Museum:
Valkenburg — Willem de Rooij
Centraal Museum Utrecht, 13 September 2025 — 25 January 2026
Dirk Valkenburg (1675–1721) was one of the first Europeans to depict Indigenous and enslaved people on Surinamese plantations, while also painting hunting still lifes and portraits of Dutch elites. The breadth of his oeuvre makes it particularly relevant for research into colonial image production and the ‘white gaze’. In this installation, Willem de Rooij displays 30 works in idiosyncratic combinations, inviting reflection on how these 18th-century Dutch elites used art to support and legitimise colonial ideology.
Since the early 1990s, Willem de Rooij (b. 1969) has created temporary installations in that explore the politics of representation through appropriation and collaboration. In 2005, he represented the Netherlands at the Venice Biennale and has since exhibited in leading museums worldwide. A distinctive feature of his practice is the reuse and rearrangement of existing images and objects, often based on in-depth art-historical and cultural research. In doing so, he creates new meanings between diverse visual elements. Recent exhibitions include King Vulture (Akademie der Künste, Vienna) and Pierre Verger in Suriname (Portikus, Frankfurt). De Rooij teaches in Frankfurt, Berlin, and Amsterdam and lectures internationally.
The exhibition will be accompanied by the first comprehensive publication on Dirk Valkenburg’s oeuvre: a catalogue raisonné developed in collaboration with the RKD–Netherlands Institute for Art History. This volume, edited by Willem de Rooij and Karwan Fatah-Black—historian and expert in Dutch colonial history, (Leiden University)—includes new essays by international scholars and thinkers from various disciplines, including art history, anthropology, postcolonial, and queer studies.
Print Quarterly, September 2025
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.
Exhibition | William Blake: Burning Bright
William Blake, The Tyger (Plate 42, from Songs of Innocence and of Experience), detail, 1794, color-printed relief etching with hand coloring in watercolor (New Haven: Yale Center for British Art, Paul Mellon Collection).
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Now on view at YCBA:
William Blake: Burning Bright
Yale Center for British Art, New Haven, 26 August — 30 November 2025
Curated by Elizabeth Wyckoff and Timothy Young
One of the most compelling figures in the history of British art and poetry, William Blake (1757–1827) developed an idiosyncratic worldview during a tumultuous era that witnessed the American and French Revolutions. He expressed his radical perspectives on religious belief, politics, and society through highly original illuminated books, watercolors, paintings, and poetry. This exhibition showcases the Yale Center for British Art’s impressive collection of works by Blake, with special focus on the inventive hand-printed publications that bring to life his poetry and prophecies.
The YCBA’s extensive holdings include Blake’s most innovative and celebrated books, such as Songs of Innocence and of Experience (1789–94) and The First Book of Urizen (1794). Blake’s mastery of watercolor painting and his phenomenal imaginative powers are evident in the one-of-a-kind illustrations for The Poems of Thomas Gray (between 1797 and 1798) and in the only fully hand-colored version of his culminating poem, the 100-page Jerusalem (1804–20). This stunning presentation highlights the artist’s ambitious vision and skill, as well as his unparalleled contributions to art, literature, and spirituality.
Born in London at a time of major social change and upheaval, Blake aspired to be an artist and a poet from a young age. During his apprenticeship, he developed an elegant black-and-white engraving style that he deployed in both commissioned and original prints and book illustrations. He is best known for devising an unorthodox technique to create colorful illuminated books that merged his poetry and his art. His most notable innovation was a method for printing text and image from a single copper plate. Blake’s work was largely unacknowledged during his lifetime, yet today his striking imagery and stirring words are widely celebrated.
Blake, the second volume in the YCBA’s Collection Series, examines the art and methods of William Blake through the lens of one of the great collections of his work. Written by Elizabeth Wyckoff, with an essay by Sarah T. Weston, the book features exquisite reproductions of his paintings, watercolors, prints, and illustrated books, including the only hand-colored copy of his epic poem Jerusalem.
Elizabeth Wyckoff, Blake (New Haven: Yale Center for British Art, 2025), 136 pages, ISBN: 978-0300284577, $40. With an essay by Sarah Weston.
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Programs exploring multiple dimensions of Blake’s life, work, and legacy will accompany the exhibition. Please visit britishart.yale.edu for the most up-to-date information.
Opening Celebration
Thursday, September 4, 4pm
A conversation with exhibition curators Elizabeth Wyckoff, Curator of Prints and Drawings, and Timothy Young, Curator of Rare Books and Manuscripts, followed by gallery talks and a reception.
The Enduring Influence of William Blake
Thursday, October 30, 5pm
Author John Higgs will talk with Timothy Young, Curator of Rare Books and Manuscripts.
Songs from the Imagination: Music Inspired by the Poetry of William Blake
Thursday, November 20, 5pm
Yale Voxtet, the Institute of Sacred Music’s select group of graduate student singers, will perform in the Library Court.
Create Community: Imagined Worlds in the Art of William Blake and Hew Locke
Thursdays, October 2, 16, and 23, 5:30pm
This three-part workshop will explore William Blake: Burning Bright and Hew Locke: Passages through a close investigation of material and process. Enrollment is limited to twelve people, and preregistration is required.
Curator Tours
Thursdays, September 18, October 30, and November 20, 4pm
Docent Tours
Saturdays, 3pm
Call for Articles | Mexican Art in Europe, 16th–21st Centuries
From ArtHist.net:
Mexican Art and Its Collections in Europe, 16th–21st Centuries: Interwoven Histories
Edited volume in preparation for submission
Proposals due by 31 October 2025; completed papers will be due by 28 February 2026
We invite contributions to an edited volume that will explore the histories, meanings, and trajectories of Mexican art in European contexts, from the early modern period to the present day. Building on the discussions initiated at the international conference Mexican Art and Its Collections in Europe (16th–21st Centuries): Interwoven Histories (2025), this book seeks to highlight the complexities of artistic transfer, collection, display, and reception of Mexican art across the continent. While Mexican-European artistic relations have often been studied in connection with major Western European centers, we particularly welcome perspectives that address Central and Eastern Europe as crucial—though often overlooked—sites of collecting, exhibiting, and interpreting Mexican art.
Possible topics include (but are not limited to):
• The circulation of Mexican artworks and objects in Europe from the 16th century onwards
• European collecting practices and their political, colonial, and cultural contexts
• Exhibitions of Mexican art in Europe and their impact on audiences and scholarship
• Transatlantic artistic exchanges between Mexico and Europe in the 19th and 20th centuries
• Cold War cultural diplomacy and Mexican art in Eastern and Central Europe
• Contemporary artistic dialogues, curatorial strategies, and institutional collaborations
• Methodological approaches to studying transcultural art histories
All contributions and abstracts should be submitted in English. Abstracts (max 300 words) and a short bio (max 150 words) should be submitted by 31 October 2025 to Dr. Emilia Kiecko, Institute of Art History, University of Wrocław, emilia.kiecko@uwr.edu.pl. Acceptance notification will be communicated by 15 November 2025. Full papers (6,000–8,000 words) will be due by 28 February 2026.
Call for Articles | Expanding the Narrative of Historic House Museums
From ArtHist.net:
History Dis-placed: Expanding the Narrative of Historic House Museums
Volume edited by Karen Shelby and Emily Stokes-Rees
Proposals due by 31 October 2025
History Dis-placed: Expanding the Narrative of Historic House Museums concentrates on the unique histories and challenges of house museums through a time of unprecedented crisis and change. In addition to being historic landmarks, house museums can be sites of civic engagement and reflection, centers for activism and cultural discourse, and places for public events and gatherings. In the digital age, house-museums have had to renegotiate these identities and interactions with contemporary audiences through innovative practices. Together, the chapters in this volume collectively assert that HHMs can survive as important sources of local history, building support in the local community. These are museums that are challenging us to think differently, overturning conventional paradigms, and taking risks.
Historic house museums are becoming spaces not just of memory, but of activism, dialogue, and cultural regeneration. These changes reflect a growing awareness among museum professionals that the ‘living history’ techniques once popularized in the field may reinforce romanticized or incomplete narratives. Today, interpretive strategies must look beyond static domestic tableaux to explore how the house—as both a physical and symbolic space—contains multiple, often contested, histories. As Vagnone and Ryan assert, “The breath of a house is the living that takes place within it, not the structure or its contents” (2016, 21).
This volume addresses the evolving interpretive practices within historic house museums through four interrelated thematic sections: Visionary Programming, Beyond These Walls, Virtual Vitality, and Sites of Social Justice. Together, these sections reflect a growing movement within the field to reimagine not only what stories are told, but how, where, and for whom they are told. Each section explores a facet of this interpretive shift, offering case studies, theoretical insights, and practical approaches to reframing the work of house museums in the twenty-first century.
Visionary Programming
The first section, Visionary Programming, explores how historic house museums are implementing bold and innovative approaches to interpretation. Moving beyond traditional period rooms and didactic tours, these programs often prioritize collaboration with artists, scholars, descendant communities, and local stakeholders. Through immersive installations, performance-based experiences, and participatory storytelling, such programming seeks to foster emotional engagement, critical reflection, and a deeper sense of connection between past and present. The case studies in this section examine how curators and educators are reconfiguring house museums as sites of inquiry, experimentation, and shared authority.
Beyond These Walls
While the historic house itself remains a central interpretive anchor, many institutions are increasingly working to contextualize their narratives within broader spatial, social, and historical frameworks. The second section, Beyond These Walls, highlights efforts to extend interpretation beyond the physical boundaries of the house. Contributors consider how museums are addressing issues such as land dispossession, enslavement, migration, and community memory—often through partnerships, neighborhood-based initiatives, or landscape interpretation. By reframing the house as part of a larger network of historical and contemporary relationships, these approaches challenge insular narratives and reinforce the museum’s role within the public sphere.
Virtual Vitality
The third section, Virtual Vitality, addresses the increasing use of digital technologies to enhance access, engagement, and interpretation. As early as 1994, John Driscoll asked questions that remain salient today: what can we do with a digital museum? Is it possible to create a pro-active and creatively engaged audience? How can museums present a digital image of an object that functions as an artifact? And, for the purposes of the volume, how can house museums, despite digital and virtual programs, retain the intimacy and aura that differentiates them from other museums? While the COVID-19 pandemic accelerated the adoption of virtual tools across the museum world, many institutions have since embraced the digital realm not as a substitute for physical visitation, but as a space for new forms of storytelling, education, and collaboration. From virtual tours and online exhibitions to digital archives and interactive platforms, this section explores how house museums are leveraging technology to reach wider and more diverse audiences. Contributors also reflect on the epistemological implications of digitization: what is gained, what is transformed, and what is lost when interpretation moves beyond material culture and embodied experience.
Sites of Social Justice
The fourth section will provide case studies that expand upon the research of Marianna Clair. Clair, in 2016, began to look into the connection among the appreciation of local heritage, the creation of activists in local communities, and how to educate citizens about social issues. An example is The Tenement Museum in the Lower East Side of New York City. The museum presents and interprets a variety of immigrant experiences on the Lower East Side, but also draws on connections between the past and the present to underscore national conversations about immigration. But, as outlined in “House or Home? Rethinking the House Museum Paradigm,” the creation of new house museum over a century ago was to “protect and enshrine American virtue” that was guided by assimilation politics and beliefs. Thus, this chapter will address all types of historicized political activism (Potvin, 2010).
Together, these four sections articulate a vision of the historic house museum as a dynamic, inclusive, and socially engaged institution. Rather than serving solely as vessels of preservation, house museums are increasingly positioned as active participants in contemporary cultural and political discourse. This volume demonstrates how reimagined interpretive practices can make these sites more relevant, equitable, and responsive to the complexities of the histories they are entrusted to tell.
In this Call for Papers, we ask for contributions that examine how historic house museums are navigating decolonial practices, confronting difficult pasts, and opening space for marginalized voices in innovative new ways. The book explores a variety of themes, as they relate to the four thematic sections noted above. Contributors may address the following:
• The role of descendant communities in shaping interpretive direction
• New exhibition models for underrepresented histories
• House museums as civic spaces for protest, reflection, and healing
• Digital storytelling and participatory interpretation
• Theoretical frameworks for understanding domestic space as contested ground
Please submit abstracts of 250–500 words and a two-page CV to co-editors: Karen Shelby, karen.shelby@baruch.cuny.edu, and Emily Stokes-Rees, ewstokes@syr.edu.
New Book | Shakespearean Objects in the Royal Collection, 1714–1939
So satisfying to see publications emerge from the AHRC-funded project Shakespeare in the Royal Collection. –CH
From Oxford UP:
Kirsten Tambling, Shakespearean Objects in the Royal Collection, 1714–1939: From National Treasure to Family Heirloom (Oxford: Oxford University Press, 2025), 256 pages, ISBN: 978-0198964483, $100.
The British royal collection includes nearly 2,000 objects with a connection to Shakespeare. What stories do these objects tell of the relationship between the man often described as Britain’s ‘national poet’ and Britain’s royal family? Royal collecting of Shakespeare did not really begin until 1714, and has therefore broadly tracked the development, and entrenchment, of the Hanoverian—and latterly the Saxe-Coburg Gotha—royal family. Not entirely coincidentally, this period also saw a general increase in public interest in objects associated with Shakespeare’s life and biography, often to the detriment of Shakespeare’s works—a development partially spearheaded by the ‘Shakespeare Jubilee’ masterminded by the actor David Garrick at Stratford-upon-Avon in 1769. The histories of specific works of art in the royal collection, from Thomas Gainsborough’s painting of Mary Robinson to a collection of relic objects relating to ‘Herne’s Oak’ and Shakespeare’s mulberry tree, reveal how royal engagement with Shakespearean objects between 1714 and 1939 contributed to the development of a new constitutional settlement between the monarchy and its subjects under George IV, Queen Victoria, and George V and Queen Mary. During this period, objects relating to Shakespeare—increasingly regarded (by the royal family) as nostalgic souvenirs from a fantastical national past—were useful tools in shoring up these ideas, and in yoking the fortunes of the British monarchy to a new vision of shared national history.
Kirsten Tambling completed her PhD in History of Art at Birkbeck, University of London on the art of Jean-Antoine Watteau and William Hogarth. She was a postdoctoral research associate for ‘Shakespeare in the Royal Collection’ and subsequently Associate Lecturer on the Curating the Art Museum programme at the Courtauld Institute of Art. She has worked in various museums and collections, including the Royal Collection Trust and Watts Gallery, where she was co-curator of the exhibition James Henry Pullen: Inmate, Inventor, Genius (2018). She has published articles on eighteenth-century art, the intersection of art and psychiatry, and the history of collections.
c o n t e n t s
Introduction
1 Remembering Perdita
2 A Present from Stratford
3 Old Wives’ Tales
4 Sweet Anne Page and the Family Settlement
Coda: Queen Mary Arranges the Collection
Conclusion: Serried Accumulations
New Book | Shakespeare’s Afterlife in the Royal Collection
From Oxford UP:
Sally Barnden, Gordon McMullan, Kate Retford, and Kirsten Tambling, eds., Shakespeare’s Afterlife in the Royal Collection: Dynasty, Ideology, and National Culture (Oxford: Oxford University Press, 2025), 272 pages, ISBN: 978-0198923152, $40.
This collection of essays and images explores a series of objects in the Royal Collection as a means of assessing the interrelated histories of the British royal family and the Shakespearean afterlife across four centuries. Between the beginning of the eighteenth century and the late twentieth, Shakespeare became entrenched as the English national poet. Over the same period, the monarchy sought repeatedly to demonstrate its centrality to British nationhood. By way of close analysis of a selection of objects from the Royal Collection, this volume argues that the royal family and the Shakespearean afterlife were far more closely interwoven than has previously been realized.
The chapters map the mutual development over time of the relationship between members of the British royal family and Shakespeare, demonstrating the extent to which each has gained sustained value from association with the other and showing how members of the royal family have individually and collectively constructed their identities and performed their roles by way of Shakespearean models. Each chapter is inspired by an object in (or formerly in) the Royal Collection and explores two interconnected questions: what has Shakespeare done for the royal family, and what has the royal family done for Shakespeare? The chapters range across the fields of art, theatre history, literary criticism, literary history, court studies and cultural history, showing how the shared history of Shakespeare and the royal family has been cultivated across media and across disciplines.
c o n t e n t s
Introduction — Sally Barnden, Gordon McMullan, Kate Retford, and Kirsten Tambling
1616
1 The ‘Disappointment’ of Charles I’s Shakespeare Second Folio — Gordon McMullan
1700
2 Henry V and Early Hanoverian Self-Fashioning — Emrys Jones
3 ‘A Wild and Unruly Youth’ — Kate Retford
4 Moral Painting — Shormishtha Panja
5 David Garrick and the President’s Chair — Anna Myers
6 Queen Charlotte and the Royal Narratives of Boydell’s Shakespeare Prints — Rosie Dias
7 George III and the Other ‘Mad King’ — Arthur Burns
8 Disability and Mutable Spectatorship — Essaka Joshua
9 Fake and Authentic Shakespeare — Fiona Ritchie
1800
10 ‘Well-Authenticated Blocks’ — Mark Westgarth
11 Why Did George IV Own a Shakespeare First Folio? — Emma Stuart
12 From Performance to Portfolio — Kate Heard
13 Hamlet Disowned — Michael Dobson
14 Princess Victoria and the Cult of Celebrity — Lynne Vallone
15 Shakespeare in the Rubens Room — Eilís Smyth
16 Monument and Montage — Sally Barnden
17 Puck and the Prince of Wales — Gail Marshall
18 Much Ado about Tapestry — Morna O’Neill
19 Disappearances and The Durbar — Vijeta Saini
1900
20 ‘All England in Warm Sepia’: Queen Mary and the Church of the Holy Trinity — Kirsten Tambling
21 Shakespeare in Miniature — Elizabeth Clark Ashby
22 Shashibiya — Eleine Ng-Gagneux
23 Cultural (Dis)inheritance and the Decline of Empire in The Prince’s Choice — Kathryn Vomero Santos
Bibliography
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