Enfilade

This collection of conference essays will not be commercially available, though copies will be distributed to select academic libraries; see the GRHAM website:

Ludovic Jouvet, Alice Ottazzi, and Maël Tauziède-Espariat, eds., Collectionner: Acteurs, Lieux, et Valeur(s), 1750–1815 (Paris: Editions du GRHAM, 2022, ISBN: 978-2955954621.

Le présent ouvrage réunit les actes du colloque organisé par le GRHAM (Groupe de Recherche en Histoire de l’art Moderne) et le Séminaire Collection les 26 et 27 octobre 2020. Dans une perspective interdisciplinaire innovante, les douze contributions questionnent la pratique du collectionnisme au tournant des XVIIIe et XIXe siècles. Alors que le rationalisme des Lumières, friand de taxinomie, a parfois entraîné une histoire simplifiée du collectionnisme, ces contributions soulignent au contraire la grande diversité des pratiques parallèlement à la normalisation de certains lieux, objets ou statuts du collectionneur.

C O N T E N T S

• Une culture de la collection au XVIIIe siècle ? — Olivier Bonfait
• La réception de Jean Warin au XVIIIe siècle — Ludovic Jouvet
• Gendering Collecting, Collections, and Consumption in 18th-Century Paris — Natasha Shoory
• L’art britannique à Paris au XVIIIe siècle : le recueil gravé comme outil pour l’étude de la réception — Alice Ottazzi
• Collecting Landscape Drawings in 18th-Century Paris: Delectare and Docere — Camilla Pietrabissa
• Antiques et culture d’un amateur et financier parisien de la seconde moitié du XVIIIe siècle : le salon et la bibliothèque d’Harenc de Presle (1710–1802) — Maël Vandewalle
• La pratique de la collection chez le financier de la seconde moitié du XVIIIe siècle — Élodie Kong
• La restitution des biens étrangers sous le Consulat : politique et finance relatives à deux tableaux de Claude Lorrain — Christine Godfroy-Gallardo
• Le Goût des Anglais pour le Mobilier Français: Collectors, Dealers, and the Market, 1785–1815 — Diana Davis
• Redécouverte d’une collection particulière parisienne du XVIIIe siècle : le cabinet de Louis Petit de Bachaumont — Léo Davy
• Le médailliste du siècle des Lumières : entre érudition, prestige et sociabilité — Charlotte Rousset
• Perfide Albion ! Douce Angleterre ? Le collectionnisme d’antiques en temps de rivalité napoléonienne à travers l’exemple croisé de Lord Elgin et du comte de Choiseul-Gouffier — Odile Boubakeur
• Le cabinet d’objets d’art de Balthazar-Georges Sage : la découverte d’une collection entre cabinet particulier et musée au tournant de la Révolution — Maddalena Napolitani

From Brepols:

Ada De Wit, Grinling Gibbons and His Contemporaries (1650–1700): The Golden Age of Woodcarving in the Netherlands and Britain (Turnhout: Brepols, 2022), 426 pages, ISBN: 978-2503584881, €150.

One of the greatest artists of the English Baroque, Grinling Gibbons (1648–1721) was born in Rotterdam to English parents. He moved to England at the age of nineteen and embarked on a spectacular career. His exuberant lifelike carvings in limewood can be admired at Hampton Court Palace and at St Paul’s Cathedral in London. But what was the Dutch tradition that shaped him? And what set him apart from the other carvers of his time? This book explains the importance of woodcarving and provides new insights into the work of woodcarvers in the Netherlands and Britain. Full of discoveries and new images, it discusses little-known interiors, objects, craftsmen, and their patrons and provides a rich introduction to the ornamental world of woodcarving.

Ada de Wit is Curator of Works of Art and Sculpture at The Wallace Collection, London. A specialist in decorative arts and historic interiors, she is an expert on the art of Grinling Gibbons.

From the University of Delaware Press:

Amanda Lahikainen, Money and Materiality in the Golden Age of Graphic Satire (Newark: University of Delaware Press, 2022), 234 pages, ISBN: 978-1644532690 (cloth), $120 / ISBN: 978-1644532683 (paperback), $35.

This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire ​altogether.

Amanda Lahikainen is the executive director of the Ogunquit Museum of American Art in Ogunquit, Maine. Prior to joining OMAA, she served as an associate professor of art history and chairperson of the art department at Aquinas College in Grand Rapids, Michigan.

C O N T E N T S

Acknowledgments
List of Tables and Figures

Introduction: The Inflation of Georgian Graphic Satire
1  Money, Fact, and Value
2  Crisis
3  Subjectivity and Trust
4  Imitation and Immateriality
5  Materiality
6  The Deflation of Georgian Graphic Satire
Epilogue: Beyond Britain

Notes
Bibliography
Index

From Four Courts Press:

Patricia McCarthy, Enjoying Claret in Georgian Ireland: A History of Amiable Excess (Dublin: Four Courts Press, 2022), 224 pages, ISBN: 978-1801510134, €40.

This book looks at Ireland’s love affair with claret, which began in earnest with the establishment of Irish families in the wine trade in Bordeaux in the early eighteenth century. So much red wine from Bordeaux was being consumed by Ireland’s nobility and gentry that Jonathan Swift referred to it as ‘Irish wine’, in the full knowledge that his correspondent would understand that he meant claret. One writer observed that ‘drinking had become so fashionable, that gentlemen competed eagerly to have the largest cellar and spend the most on hogsheads of wine every year’, and claret was the wine of choice. At Dublin Castle the amount of wine consumed was prodigious: it was acknowledged by all that balls, dinners and the contents of the Castle’s cellars played a major part in the popularity of the lord lieutenant and indeed resulted in the premature death of one. Not surprisingly, gout—referred to as ‘the Irish hospitality’ by one observer—was rampant and some of the rather bizarre ‘cures’ suggested are discussed. The book deals with questions such as how was the domestic wine cellar planned and used? When did connoisseurship in wine commence? What was the role of the merchant, apart from providing the wine? On the domestic front, to what lengths did men go in purchasing the many fashionable wine accoutrements used in the traditionally ‘male’ dining room? Why did ‘toasts’ figure so prominently, not just at dinner parties in mixed company, but particularly among male groups in clubs and associations? The ‘Irish Wine’ trade fostered not only a reputation for excessive conviviality, but created a healthy profit for its merchant importers.

Patricia McCarthy is an architectural historian and author of ‘A Favourite Study’ Building the King’s Inns (Dublin, 2006), and Life in the Country House in Georgian Ireland (Yale University Press, 2016).

From Yale UP:

Thomas Truxes, The Overseas Trade of British America: A Narrative History (New Haven: Yale University Press, 2022), 464 pages, ISBN‏: ‎ 978-0300159882, $40.

A sweeping history of early American trade and the foundation of the American economy

In a single, readily digestible, coherent narrative, historian Thomas M. Truxes presents the three hundred–year history of the overseas trade of British America. Born from seeds planted in Tudor England in the sixteenth century, Atlantic trade allowed the initial survival, economic expansion, and later prosperity of British America, and brought vastly different geographical regions, each with a distinctive identity and economic structure, into a single fabric. Truxes shows how colonial American prosperity was only possible because of the labor of enslaved Africans, how the colonial economy became dependent on free and open markets, and how the young United States owed its survival in the struggle of the American Revolution to Atlantic trade.

Thomas M. Truxes is Clinical Professor of Irish Studies and History at New York University. He is the author of Irish-American Trade, 1660–1783 and Defying Empire: Trading with the Enemy in Colonial New York, among other books.

C O N T E N T S

Preface
A Note on the Text

Introduction
1  Tudor Beginnings, 1485–1603
2  Emergence, 1603–1650
3  Shaping Atlantic Commerce, 1650–1696
4  Engines of Opportunity, 1696–1733
5  Testing the Limits of Empire, 1733–1763
6  Crisis, 1763–1773
7  Trade and Revolution, 1773–1783
Epilogue: The Empress at Sea
Conclusion

Appendix 1: The Balance of Payments of British America
Appendix 2: Statistical Tables

List of Abbreviations and Short Titles
Notes
Index

From Simon & Schuster:

David Hackett Fischer, African Founders: How Enslaved People Expanded American Ideals (New York: Simon & Schuster, 2022), 960 pages, ISBN: ‎978-1982145095, $40.

In this sweeping, foundational work, Pulitzer Prize–winning historian David Hackett Fischer draws on extensive research to show how enslaved Africans and their descendants enlarged American ideas of freedom in varying ways in different regions of the early United States.

African Founders explores the little-known history of how enslaved people from different regions of Africa interacted with colonists of European origins to create new regional cultures in the colonial United States. The Africans brought with them linguistic skills, novel techniques of animal husbandry and farming, and generations-old ethical principles, among other attributes. This startling history reveals how much our country was shaped by these African influences in its early years, producing a new, distinctly American culture. Drawing on decades of research, some of it in western Africa, Fischer recreates the diverse regional life that shaped the early American republic. He shows that there were varieties of slavery in America and varieties of new American culture, from Puritan New England to Dutch New York, Quaker Pennsylvania, cavalier Virginia, coastal Carolina, and Louisiana and Texas. This landmark work of history will transform our understanding of America’s origins.

David Hackett Fischer is a University Professor and Warren Professor of History emeritus at Brandeis University in Waltham, Massachusetts. He is the author of numerous books, including the 2005 Pulitzer Prize winner Washington’s Crossing and Champlain’s Dream. In 2015, he received the Pritzker Literature Award for Lifetime Achievement in Military Writing.

From Penn Press:

Thomas Hedin, The Fountain of Latona: Louis XIV, Charles Le Brun, and the Gardens of Versailles (Philadelphia: University of Pennsylvania Press, 2022), 296 pages, ISBN: 978-0812253757, $70.

Ovid tells the story of Latona, the mother by Jupiter of Apollo and Diana. In her flight from the jealous Juno, she arrives faint and parched on the coast of Asia Minor. Kneeling to sip from a pond, Latona is met by the local peasants, who not only deny her effort but muddy the water in pure malice. Enraged, Latona calls a curse down upon the stingy peasants, turning them to frogs.

In his masterful study, Thomas Hedin reveals how and why a fountain of this strange legend was installed in the heart of Versailles in the 1660s, the inaugural decade of Louis XIV’s patronage there. The natural supply of water was scarce and unwieldy, and it took the genius of the king’s hydraulic engineers, working in partnership with the landscape architect André Le Nôtre, to exploit it. If Ovid’s peasants were punished for their stubborn denial of water, so too the obstacles of coarse nature at Versailles were conquered; the aquatic iconography of the fountain was equivalent to the aquatic reality of the gardens.

Latona was designed by Charles Le Brun, the most powerful artist at the court of Louis XIV, and carried out by Gaspard and Balthazar Marsy. The 1660s were rich in artistic theory in France, and the artists of the fountain delivered substantial lectures at the Académie royale de peinture et de sculpture on subjects of central concern to their current work. What they professed was what they were visualizing in the gardens. As such, the fountain is an insider’s guide to the leading artistic ideals of the moment.

Louis XIV was viewed as the reincarnation of Apollo, the god of creativity, the inspiration of artists and scientists. Hedin’s original argument is that Latona was a double declaration: a glorification of the king and a proud manifesto by artists.

Thomas F. Hedin is Emeritus Professor of Art History at the University of Minnesota Duluth. He is the author, with Robert W. Berger, of Diplomatic Tours in the Gardens of Versailles, also published by University of Pennsylvania Press.

C O N T E N T S

Acknowledgments
Note on Measurements
List of Illustrations

Prologue
1  Foundations
2  Fountains in Context
3  Original State
4  Visual Narrative
5  Latona Group
6  Lycean Peasants
7  Panegyric and Manifesto
Epilogue

Appendix A: Execution of the Fountain
Appendix B: Mansart’s Marble Cone
Appendix C: Marsy’s Lecture of 7 December 1669
Appendix D: Nathan Whitman’s ‘Fronde Thesis’
Appendix E: Translations of Ovid
Appendix F: Elaborations of the Western Axis, Briefly

List of Abbreviations
Notes
Bibliography
Index
Illustrations follow page 90