Laura Macaluso on Benedict Arnold’s House

Posted in Calls for Papers, journal articles by Editor on December 22, 2021

We’re used to thinking about how the persistence of artifacts and architecture—especially elite forms of material culture—attest to the social and cultural status of individuals long after their deaths. With a growing scholarly appreciation for how the lack of an enduring material record also speaks to historical priorities, many readers will find this essay by Laura Macaluso interesting. And I would draw your attention more generally to Commonplace, edited by Joshua Greenberg; see the ongoing Call for Submissions below. –CH

From Commonplace:

Laura A. Macaluso, “Benedict Arnold’s House: The Making and Unmaking of an American,” Commonplace: The Journal of Early American Life (October 2021).

Arnold’s unceasing efforts to elevate himself in society through marriage and professional work can be viewed through the lens of the houses he bought or built throughout his life.

Benedict Arnold’s Shop Sign (New Haven Museum). ‘Sibi Totique’ (‘For himself and for everyone’).

Historians have examined the many aspects, both positive and negative, of Arnold’s impact on the course of events leading to the establishment of the United States. Yet the largely unanalyzed material culture of his existence—the objects he acquired and the buildings in which he and his family resided—can offer us much more about the contours of his life as he fashioned it, and how others crafted his historical memory. Arnold’s unceasing efforts to elevate himself in society through marriage and professional work can be viewed through the lens of the houses he bought or built throughout his life. This essay looks at the cultural landscape of one of his homes, the New Haven, Connecticut, house he built and resided in from 1769 until wartime. Through an analysis of the choices Arnold made in location, size, and architectural style, I identify how Arnold began to construct his identity not only as a member of the urban merchant class, but also as a gentleman. The building of the home reads as material evidence of his desire to establish his identity and place in society, but equally the abuse and destruction of Arnold’s house is a parallel to the untimely end of a life and career he worked hard to obtain.

The full essay is available here»

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Commonplace: Call for Submissions

Commonplace is now accepting submissions of approximately 2000 words that analyze vast early America before 1900. We seek a diverse range of articles on material and visual culture, critical reviews of books, films, and digital humanities projects, poetic research and fiction, pedagogy, and the historian’s craft. We are especially interested in deep reads of individual objects, images, or documents (including in the collection of the American Antiquarian Society). Submissions should be written in an accessible style and crafted for a wide audience. Inquiries and submissions can be made to commonplacejournal@gmail.com.

About Commonplace:

A bit less formal than a scholarly journal, a bit more scholarly than a popular magazine, Commonplace speaks—and listens—to scholars, museum curators, teachers, hobbyists, and just about anyone interested in American history before 1900. It is for all sorts of people to read about all sorts of things relating to early American life—from architecture to literature, from politics to parlor manners. It’s a place to find insightful analysis of early American history as it is discussed in scholarly literature, as it manifests on the evening news, as it is curated in museums, big and small; as it is performed in documentary and dramatic films and as it shows up in everyday life. . . .

Commonplace originally launched in 2000 as Common-Place: The Journal of Early American Life and has now been reimagined with a cleaner, more accessible interface. Our articles appear on a rolling basis and are arranged by category instead of being organized by issue and volume. . . .

Sponsored by the American Antiquarian Society, founded by editors Jane Kamensky and Jill Lepore, and designed by John McCoy, Common-Place: The Journal of Early American Life is the product of an amazing team of editors and institutions. Over nearly two decades, the journal has been published in partnerships with Florida State University, the University of Oklahoma, the Gilder Lehrman Institute of American History, and the University of Connecticut. Past editors have included Ed Gray; Catherine Kelly; Anna Mae Duane and Walt Woodward. Past contributors and guest editors have included: Joanna Brooks, Robert A. Gross, Gary B. Nash, Megan Kate Nelson, Mary Beth Norton, and Alan Taylor.

In 2019, the Omohundro Institute of Early American History and Culture joined the AAS in a new partnership to redesign and reinvigorate the site.

Journal18, Fall 2021 — The ‘Long’ 18th Century?

Posted in journal articles, teaching resources by Editor on December 15, 2021

From J18:

Journal18, Issue #12 (Fall 2021) — The ‘Long’ 18th Century?
Edited by Sarah Betzer and Dipti Khera


• Architectural ‘Worlding’: Fischer von Erlach and the Eighteenth-Century Fabrication of a History of Architecture — Sussan Babaie

• Enlightenment as Thought Made Public: Joshua Reynolds’s Portrait of a Black Man — Andrei Pop

• Britain, Empire, and Execution in the Long Eighteenth Century — Meredith Gamer

• Maritime Media in the Long Eighteenth Century — Maggie M. Cao

• Poq’s Temporal Sovereignty and the Innuit Printing of Colonial History — Bart Pushaw


• The Mughals, the Marathas, and the Refracted Long Eighteenth Century, A Dialogue — Chanchal Dadlani and Holly Shaffer

• Teaching the ‘Long’ Eighteenth Century, A Conversation and Resources — Eleanore Neumann, with Anna Arabindan-Kesson, Nebahat Avcıoğlu, Emma Barker, Sarah Betzer, Ananda Cohen-Aponte, Dipti Khera, Prita Meier, Nancy Um, and Stephen Whiteman

Issue Editors
Sarah Betzer, University of Virginia
Dipti Khera, New York University and Institute of Fine Arts

Cover image: Thomas Baldwin, Detail from A Balloon Prospect from Above the Clouds. Engraving, Plate III, from Airopaidia: Containing the Narrative of a Balloon Excursion (London,1786).

British Art Studies, November 2021

Posted in exhibitions, journal articles by Editor on December 12, 2021

The latest issue of BAS:

British Art Studies 21 (November 2021)
Redefining the British Decorative Arts, Guest Edited by Iris Moon

Michelle Erickson, Cauldron, from the series Ply-MYTH, 2019, wheel thrown with lifecast shell and industrial artifacts, made from indigenous North Carolina woodfired stoneware with copper wash, 16 × 19.5 inches (Collection of the artist). Additional information is available here»

“Decorative arts place pressure upon the hierarchies inherent in British aesthetics, and by extension British culture, from the enlightenment to the present day. The specters of history and the possibilities of the future haunt in equal measure this special issue of British Art Studies, which challenges readers to rethink the British decorative arts. Through a series of thought-provoking articles by artists, curators, scholars, and a scientist, the issue asks readers to question their assumptions about the decorative arts, and by extension, the notions of belonging, possession, and home that such arts have helped to shape in British culture. Issues of race and identity, empire and nation, and collective and subjective desires, far from being alien aspects of the decorative arts, have long gestated within the discourses of taste and aesthetics that emerged in tandem with Britain’s rise as a center of capitalism. Many of the articles have as their touchstone the eighteenth century, when London became the finance capital of the world . . . ” (from Iris Moon’s introductory article).


• Unhomely: Redefining the British Decorative Arts, by Iris Moon
• England Am I? Elizabethan Clothing, Gender, and Crisis in Virginia Woolf’s Between the Acts, by Sarah Bochicchio
• Microorganisms, Microscopes, and Victorian Design Theories, by Ariane Varela Braga
• Tarnished Silver: Interpreting the Material Culture of the Atlantic Slave Trade Negotiations of 1715, by Max Bryant
• Cherokee Unaker, British Ceramics, and Productions of Whiteness in Eighteenth-Century Atlantic Worlds, by R. Ruthie Dibble and Joseph Zordan
• Defining a New Femininity? Josiah Wedgwood’s Portrait Medallions of Sarah Siddons and his Femmes Célèbres by Patricia F. Ferguson
• Classical Histories, Colonial Objects: The Specimen Table Across Time and Space, by Freya Gowrley
• Serving as Ornament: The Representation of African People in Early Modern British Interiors and Gardens, by Hannah Lee
• Ruth Ellis’s Suit, by Lynda Nead
• Colonial Trash to Island Treasure: The Chaney of St. Croix, by Jessica Priebe
• In the Flesh at the Heart of Empire: Life-Likeness in Wax Representations of the 1762 Cherokee Delegation in London, by Ianna Recco


• The Chelsea Porcelain Case, British Galleries, The Metropolitan Museum of Art, convened by Iris Moon
• Unpacking Wedgwood: An Interview with Roberto Visani, by Caitlin Meehye Beach
Wild Porcelain, cover collaboration with Michelle Erickson
• What’s in a Label? Revising Narratives of the Decorative Arts in Museum Displays, convened by Iris Moon
Another Crossing: Artists Revisit the Mayflower Voyage, by Glenn Adamson
In Sparkling Company: Presenting Eighteenth-Century Britain in Western New York State, by Christopher Maxwell

Iris Moon is an assistant curator of European ceramics and glass in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art, where she recently participated in the reinstallation of the British Galleries. She has taught at Pratt Institute and The Cooper Union and her research on European decorative arts and architecture has been supported by fellowships from the Metropolitan Museum of Art, the Clark Art Institute, and the Getty Research Institute. Her new book, Luxury after the Terror, will be published in spring 2022 by Penn State Press.


West 86th, Spring–Summer 2021

Posted in journal articles by Editor on December 12, 2021

From West 86th:

West 86th: A Journal of Decorative Arts, Design History, and Material Culture 28.1 (Spring–Summer 2021)

Aaron M. Hyman and Dana Leibsohn, “Lost and Found at Sea, or a Shipwreck’s Art History”

Makers’ names no longer known, arrowheads, 18th or 19th century, porcelain (Tillamook, Oregon: Tillamook County Pioneer Museum).

Abstract: To be lost and found at sea: What kinds of thinking does the shipwreck prompt? This essay pursues this question by centering fragmented remains—large beeswax blocks and Chinese porcelain ware—from the Santo Cristo de Burgos, a Spanish galleon lost while traveling from Manila to Acapulco at the end of the seventeenth century. By considering how durable commodities were recovered and reimagined, primarily by Indigenous inhabi­tants of the Oregon coast, this essay reflects upon the kinds of histories that can be written around and because of wrecked ships. Tacking between past and present, we use the Santo Cristo de Burgos to draw out the lineaments of a shipwreck’s art history, bringing into focus three interrelated themes, each critical to the material histories of wrecks: the interpretive recalcitrance of cargo, the reframing of value through recovery, and the production of material surplus in the watery depths.

Art Bulletin of Nationalmuseum Stockholm 27.1

Posted in journal articles by Editor on December 6, 2021

Published in November by the Nationalmuseum, with a selection of eighteenth-century topics listed below:

The Art Bulletin of Nationalmuseum Stockholm is a journal devoted to art history. It is published in English twice a year with a content that ranges from older master paintings to contemporary design. This, the first part of Volume 27, focuses primarily on acquisitions in 2020. The journal is published through DiVA (a publishing system for research publications and student essays and a digital archive for long-term preservation of publications), with all articles available for free download here.

Editors: Ludvig Florén, Magnus Olausson, and Martin Olin.
Editorial Committee: Ludvig Florén, Carina Fryklund, Eva-Lena Karlsson, Helena Kåberg, Ingrid Lindell, Magnus Olausson, Martin Olin, Daniel Prytz, and Cilla Robach.


Magnus Olausson and Martin Olin, “Two Large Covered Beakers with Filigree Ornamentation by Rudolf Wittkopf.”

The two filigree beakers with covers in silver gilt, made by Rudolf Wittkopf (d. 1722) in Stockholm in 1698, are not only notable examples of Swedish goldsmiths’ work from the end of the 17th century, their history also tells of a dramatic diplomatic episode in the history of relations between Sweden and Russia. The beakers were among the presents given to Tsar Peter I by the ambassadors of the Swedish king Charles XII, in the autumn of 1699.

Daniel Prytz, “A Seated Amour: A Drawing by Charles-Joseph Natoire Related to his Painting Apollo and Clytie for the Royal Palace in Stockholm.”

A drawing of a seated Amour by Charles-Joseph Natoire (1700–1777), recently acquired by the Nationalmuseum, can be said to underline the central role of the art of drawing in his oeuvre. In the present article it is posited that it was created as a finished work onto itself and should be viewed as an example of the possibilities Natoire found primarily in drawing.

Daniel Prytz, “The Vatican from the Road to Ponte Mola: A Drawing by the Amateur Artist and Patron of the Arts Sir George Howland Beaumont.”

Sir George Howland Beaumont (1753–1827) was one of the most prominent British amateur artists and important patrons of the arts of his time. The present article concerns a formerly anonymous 18th-century drawing acquired by the Nationalmuseum, here decisively attributed to Beaumont. The work is a concrete example of the artistic output of this influential judge of taste and perfectly reflects both his position in society and his artistic connoisseurship.

Micael Ernstell, “A Writing Bureau from Magistrate Asplind’s Workshop: A Gift from a Friend.”

A writing bureau dating from 1810–20 by the ornamental painter Johan Nils Asplind (1756–1820), has been generously donated to the Nationalmuseum by Margareta Leijonhufvud through the Friends of the Nationalmuseum. Asplind was active in Falun between 1779 and 1820. He produced ornamental paintings for various manor houses and on furniture he ordered from local cabinetmakers, to which he selected suitable designs from a range of originals. The writing bureau has united the influences of Chinese lacquerwork, the painting of the French rococo, and Gustavian furniture design.

Magnus Olausson, “In the Shadow of Horace Vernet: A Swedish Artist in 1820s Paris.”

This article is about the Swedish artist Alexander Clemens Wetterling’s (1796–1858) encounter with the art and artists of Paris in 1826–27. It introduces us to artistic training in the city, to important networks, and to Wetterling’s take on the struggle between Classicists and Romantics at the famous Salon of 1827. The article is based on a combined reading of Wetterling’s letters and several of the study drawings by him from his stay in Paris, recently acquired by the Nationalmuseum.

Daniel Prytz, “Shepherd Playing his Flute: A Proposed Attribution of a Painting Long in the Collections of the Nationalmuseum to Bernhard Keilhau, Called Monsù Bernardo.”

Bernhard Keilhau (1624–1687) must surely be viewed as one of the foremost artists hailing from Scandinavia, from any century. However, he is largely unknown in Sweden and there are no previous works in the collections of the Nationalmuseum attributed to this artist. The present article concerns a proposed attribution to Keilhau of a work long in the collections of the Museum and with the provenance of the Marshall of the Royal Court Martin von Wahrendorff (1789–1861).

Stephen Lloyd, “A Double-Sided Portrait Miniature Attributed to Sir Henry Raeburn (1756–1823).”

A striking and meticulously painted double-sided portrait miniature of an older man on one side and a younger man on the other side was gifted by the collector Consul Hjalmar Wicander to the Nationalmuseum in 1927 as being a work from the later 18th-century English School. By careful comparison with a small group of other miniatures and drawings this double-portrait is now presented as a significant work from the 1780s Scottish School and indeed a significant youthful achievement from the early career in Edinburgh of the great Enlightenment portraitist in oils, Sir Henry Raeburn (1756–1823).


The Burlington Magazine, October 2021

Posted in books, catalogues, exhibitions, journal articles by Editor on November 18, 2021

The eighteenth century in October’s issue of The Burlington . . . Rado’s article is not an eighteenth-century essay, but she is a HECAA member (!), and she briefly frames the material in terms of a longer history; the theme for the October issue is ‘art in twentieth-century China’.CH

The Burlington Magazine 163 (November 2021)


• “Art History in the Anthropocene” p. 883.


• Mei Mei Rado, “The Empress Dowager Cixi’s Japanese Screen and Late Qing Imperial Cosmopolitanism,” pp. 886–97.


• Arthur Bijl, Review of the exhibition catalogue Kjeld von Folsach, Joachim Meyer, and Peter Wandel, Fighting, Hunting, Impressing: Arms and Armour from the Islamic World, 1500–1850 (Copenhagen: David Collection / Strandberg Publishing, 2021), pp. 946–47.

• Kee Il Jr Choi, Review of John Finlay, Henri Bertin and the Representation of China in Eighteenth-Century France (Routledge, 2020), pp. 966–67.

• Mirjam Hähnle, Review of Annette Kranen, Historische Topographien: Bilder europäischer Reisender im Osmanischen Reich um 1700 (Brill, 2020), pp. 971–72.




Opinion | Time to Rethink Chinoiserie

Posted in journal articles, opinion pages by Editor on November 2, 2021

Thomas Chippendale, Chinese Chairs, 1753; black ink, gray ink, and gray wash (New York: The Metropolitan Museum of Art, From The Met’s online description: “Preparatory drawing for Thomas Chippendale’s Gentleman and Cabinet Maker’s Director. Published in reverse as plate XXIII in the 1754 and 1755 editions. The plate is reworked and renumbered as plate XXVII in the 1762 edition. In the new version the arm chair on the right (left in the print) is left unaltered, while the chair back of the chair in the middle is changed and the chair on the left (right in the print) is changed completely.”

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The following op-ed was published online at Elle Decor in May with a version also appearing in the October issue of the print magazine. It’s the sort of essay that I’ve been hoping to find for a few years now, one that bridges the scholarship of the past two decades with contemporary design practice, particularly as promoted by shelter magazines. I suspect that it could be useful pedagogically as a way to connect the historical origins of the material to present-day decorating trends. CH

Aileen Kwun, “Opinion: It’s Time to Rethink Chinoiserie,” Elle Decor (27 May 2021). From pagoda motifs to floral wallpaper, chinoiserie has always openly borrowed from Asian visual culture. But is it harmful? A design writer and reporter asks the AAPI design community to weigh in.

Foo dogs. Ginger jars. Yin-yang tables. Pagoda motifs, fiery dragons, and bamboo stalks. See it in architecture, gardens, interiors, furnishings, products, graphic motifs, and at just about every scale of design. Chinoiserie, a genre of reproduction design dating back to 17th- and 18th-century Western Europe, has had a long history. From Louis XIV’s decor at Versailles to Ettore Sottsass’s pagoda-topped postmodern shelving, Westernized versions of Asian motifs have long been a mainstay of interior design. . . .

As a style of decor, chinoiserie is ubiquitous, even beautiful. But as an Asian American, chinoiserie has never sat well with me—as a motif or as a word—and, to varying degrees, I’m not the only one. “My reading of chinoiserie is that it’s ‘Asian’ in facsimile,” the architect Michael K. Chen says. “The way that chinoiserie is deployed in interiors is something that I am a little reflexively allergic to. As a component of a ‘traditional’ interior, it seems to highlight the question: Whose tradition are we talking about?” . . .

The full essay is available here»

The Burlington Magazine, September 2021

Posted in books, catalogues, journal articles, obituaries, reviews by Editor on September 29, 2021

The eighteenth century in this month’s issue of The Burlington . . .

The Burlington Magazine 163 (September 2021)


• “Nicholas Goodison and The Burlington,” p. 779.


• David Pullins, Dorothy Mahon, Silvia A. Centeno, “The Lavoisiers by David: Technical Findings on Portraiture at the Brink of Revolution,” pp. 780–91.
Recent technical examination of Jacques-Louis David’s portrait of Antoine-Laurent and Marie-Anne Lavoisier in the Metropolitan Museum of Art, New York, painted between 1787 and 1788, has revealed significant and previously unknown alterations that transform our understanding of this celebrated portrait, its author, and its sitters.


• Susan Babaie, Review of the exhibition Epic Iran (V&A, 2021), pp. 837–39.

• Jonathan Conlin, Review of the exhibition Creating a National Collection: The Partnership between Southampton City Art Gallery and the National Gallery (Southampton City Art Gallery, 2021), pp. 845–48.

• Tanya Harrod, Review of the newly renovated Museum of the Home (previously the Geffrye Museum), pp. 858–61.

• John Bold, Review of John Martin Robinson, Wilton House: The Art, Architecture, and Interiors of One of Britain’s Great Stately Homes (Rizzoli Electa, 2021), pp. 872–74.

• Simon Lee, Review of Janis Tomlinson, Goya: A Portrait of the Artist (Princeton UP, 2020), pp. 874–75.

• Peter Fuhring, Review of Elena Cooper, Art and Modern Copyright: The Contested Image (Cambridge UP, 2018), pp. 875–76.


• Simon Jervis, “Ronald Lightbown (1932–2021),” pp. 879–80.
Spending most of his career at the Victoria and Albert Museum and National Art Library, Ronald Lightbown was a scholar of exceptional breadth, whose publications ranged from goldsmiths’ work of the late Middle Ages to Renaissance art and from the history of jewellery to Baroque wax sculpture.


American Ceramic Circle Journal 21 (2021)

Posted in journal articles by Editor on September 18, 2021

In the latest issue of the ACC Journal:

The American Ceramic Circle (ACC) is pleased to announce the release of its anniversary issue, volume XXI, of the American Ceramic Circle Journal. For this volume, the Journal committee has selected articles of great variety on quite different and diverse subjects. In the opening essay, “The Mysterious World of Redwares: Medicine and Magic in the Pottery of Pre-Enlightenment Europe,” Errol Manners connects the dots between redwares across Europe, the Americas, and China and explores their historical context. Alison McQueen’s research is an important milestone in giving the female workers of the Vincennes, and later Sevres, manufactory, their identities back. Her “study examines works by the female painters Marie-Victoire Jaquotot, Pauline Knip, Marie-Adélaide Ducluzeau, and Pauline Laurent, and the undervalued contributions of female employees responsible for retouching glaze, laying down prints, and burnishing the wares.” Ronald Fuchs’s essay “From Rehe, China, to Staffordshire, England: The Voyage of a Chinese Image” follows the ‘India Temple’ pattern made by John and William Ridgway of Staffordshire from its origin in China to its appearance on ceramics in England. For the 2019 ACC Symposium, we offered a wonderful excursion to Seagrove, NC, and Stephen Compton’s article “Jugtown Ware: A Modern Primitive Expression” will bring back for those who attended pleasant memories of that experience. Stephen will give a deeper insight into the founding and production of Jugtown Pottery. Radhika Vaidyanathan, a researcher and artist from South India, focuses on the tile-manufacturing process in the Indian subcontinent by the Swiss/German Basel Mission. Manhattan’s Hadler Rodriguez Gallery is the topic of Tom Folk’s article. The two New York gallerists were offering gay and lesbian ceramists a rare forum to freely exhibit in the 1970s and 1980s. Tizziana Baldenebro surveys Fred Marer’s collection of mid-century ceramics, which is now housed at Scripps College, Claremont, CA. The Marer Collection, which holds important examples of the American Studio Pottery Movement, is also part of the Marks Project’s online database. The Marks Project (TMP) received an ACC Grant in 2018.


• Errol Manners — The Mysterious World of Redwares: Medicine and Magine in the Pottery of Pre-Enlightenment Europe
• Alison McQueen — Making the Marks: The Significant Roles and Challenges for Women in the First Century of Sèvres Porcelain
• Ronald W. Fuchs II — From Rehe, China to Staffordshire, England: The Voyage of a Chinese Image
• Stephen C. Compton — Jugtown Ware, a Modern Primitive Expression: American and Asian Pottery Traditions Come together in North Carolina
• Radhika Vaidyanathan — Ceramics and Missionaries in Colonial India: A Preliminary Survey of the Basel Mission Tile Factories
• Tom Folk — The Heroic Story of Manhattan’s Hadler Rodriguez Gallery
• Tizziana Baldenebro — The Marer Collection: Persistent Witness

The American Ceramic Circle (ACC) was founded in 1970 as a non-profit educational organization committed to the study and appreciation of ceramics. Its purpose is to promote scholarship and research in the history, use, and preservation of ceramics of all kinds, periods, and origins. The current active membership of approximately 500 is composed of museum and auction house professionals, collectors, institutions, and a limited number of dealers ceramics. The American Ceramic Circle Journal was first produced in 1971. Each volume has typically included five to ten articles presenting original research on a particular aspect of world ceramics. Many of the articles over the years have concentrated on American, European, and Asian ceramics from the sixteenth to the twentieth centuries, but the Journal welcomes a wide variety of ceramics-related topics. Submissions include papers presented at the ACC’s annual symposium, articles based on research sponsored by an ACC grant, and contributions from independent scholars. The Journal is distributed to all current ACC members, both individuals and institutions, as part of their membership, and individual issues are available for purchase on the ACC website. For questions, please contact ACC Journal Editor, Dr. Vanessa Sigalas, at journal@americanceramiccircle.org.


Print Quarterly, September 2021

Posted in books, journal articles, reviews by Editor on September 18, 2021

Gottfried August Gründler, Frontispiece Der Naturforscher (1774), engraving, 90 × 110 mm
(Cambridge University Library)

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The eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 38.3 (September 2021)

William Pether, Eye Miniature, 1817, watercolour on ivory, embedded in red velvet, 27 × 22 mm (London: Victoria & Albert Museum).


Dominika Cora, “New Light on the Life and Work of the Mezzotint Engraver William Pether (1739–1821)”

William Pether (1739–1821) was one of the most distinguished English mezzotint engravers in the second half of the eighteenth century. Responding to scholarly confusion around his life, this article presents archival discoveries that illuminate his biography and personal life, as well as unpublished drawings and an overview of his artistic output.


Anna Gielas, “Gottfried A. Gründler’s Der Naturforscher (1773)”

During the second half of the eighteenth century, there was a peak in the usage of elaborate frontispiece engravings for European naturalist periodicals. Gielas introduces the frontispiece created by the renowned German engraver Gottfried August Gründler (1710–1775) for the naturalist journal Der Naturforscher and examines the useful information it displayed to the periodical’s (potential) audience. The engraving can be seen as an illustration of the cultural identity of naturalists as well as the Enlightened individual in the later decades of the eighteenth century.

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