Enfilade

The Burlington Magazine, August 2019

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on September 9, 2019

The August issue of The Burlington was especially rich for the eighteenth century; apologies for not posting it much sooner, but it’s worth noting. CH

The Burlington Magazine 161 (August 2019)

E D I T O R I A L

• “At the Yale Center for British Art,” p. 619. At the end of June Amy Meyers stepped down as Director of the Yale Center for British Art, New Haven, after seventeen years.

A R T I C L E S

• Sam Rose, “Peer Review in Art History,” pp. 621–25. A more recent development than is often realized, and historically imposed in a variety of ways, peer review is a fundamental but rarely discussed aspect of academic life. What impact does it have on publishing in art history?

• Alexander Echlin, “Was Lord Burlington a Jacobite?,” pp. 626–37. A thesis first put forward thirty years ago that Lord Burlington was a Jacobite, who used buildings and gardens to express his clandestine views, has won a measure of support. However, the biographical evidence is circumstantial and the architectural evidence is so ambiguous that it cannot sustain the argument.

• Gauvin Alexander Bailey, “Buenos Aires Cathedral in the Eighteenth Century,” pp. 638–47. Greatly altered in the early eighteenth century, the original appearance of the interior of Buenos Aires Cathedral, designed by Antonio Masella and completed by Manuel Álvarez de Rocha in 1771, is here reconstructed from newly identified visual sources, a watercolour of c.1830 and nineteenth-century photographs.

• Alexandra Gajewski and Michael Hall, “The Fate of Notre-Dame, Paris,” pp. 648–52. The first at Notre-Dame in April destroyed its largely medieval roof and the flèche designed by Violeet-le-Duc as well as badly damaging the vaults. Plans for repairs depend on an assessment of the long-term structural damage to the cathedral, despite which a five-year timetable for the restoration has been imposed by President Macron and a competition for a replacement flèche initiated.

• Giovan Battista Fidanza, “New Evidence for the ‘Barberini Apostles’ by Andrea Sacchi and Carlo Maratti,” pp. 653–59. Unpublished documents in the Barberini Archives in the Vatican Library clarify the patronage, authorship, and dating of a celebrated series of nine paintings of the Apostles commissioned from Andrea Sacchi and Carlo Maratti by Cardinals Antonio Barberini the Younger and Carlo Barberini.

R E V I E W S

• Simon Lee, Review of the exhibitions The Majesties’ Retiring Room and A Painting for a Nation: The Execution of Torrijos (Prado, 2019), pp. 673–76.

• John Bold, Review of Matthew Walker, Architects and Intellectual Culture in Post-Restoration England (Oxford University Press, 2017), pp. 688–89.

• Anthony Colantuono, Review of Claire Farago, Janis Bell and Carlo Vecce, The Fabrication of Leonardo da Vinci’s ‘Trattato della pittura’ (Brill, 2018), pp. 693–95.

• Sandra Miller, Review of Valerie Steele, ed., Pink: The History of a Punk, Pretty, Powerful Colour (Thames & Hudson, 2018), pp. 701–02.

Print Quarterly, September 2019

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on September 2, 2019

James Gillray, New Morality; – or – The Promis’d Installment of the High-Priest of the Theophilanthropes, with the Homage of Leviathan and his Suite, 1798, hand-colored etching, 8 × 24 inches (New Haven: Yale Center for British Art, Paul Mellon Collection, B1981.25.1001). 

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The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 36.3 (September 2019)

A R T I C L E S

Allison M. Stagg, “William Cobbett, James Gillray and the Market for Caricatures in 1790s Philadelphia,” pp. 263–74.

In the decades immediate following the American Revolution (1775–83), caricature prints were imported from London to cities along the east coast of North America. Evidence of a transatlantic transfer of British satirical imagery can be found in the numerous advertisements published in American newspapers from this period. Despite the frequency with which caricatures are mentioned in newspapers, few details can readily be discerned from them. The advertisements primarily reference the general arrival of collections of British caricature prints, usually as an addendum to other imported items such as books, stationery and even clocks, and provide little to no mention as to what specific caricatures crossed the Atlantic (263) . . . Details found in documents dating from the last decade of the eighteenth century, however, allow for a more thorough examination of the availability of and interest in imported and American caricatures in Philadelphia in the late 1790s. The primary source is an account book in the collection of the American Antiquarian Society in Worcester, MA, of the famous British radical, polemicist and publisher William Cobbett (1763–1835), who took refuge in American in 1793 (264).

N O T E S  A N D  R E V I E W S

Truusje Goedings, Review of Wolf Eiermann, Claudia Steinhardt-Hirsch and Eckhard Leuschner, Prachtvoll illuminirt: Das Handkolorit in der Druckgrafik, 1493–1870 (Hirmer Verlag, 2018), pp. 304–06.

Neglected for a long time, the hand-colouring of prints, book illustrations and maps has been the subject of serious research during the last three decades, resulting in major exhibitions with comprehensive catalogues. . . [The present] catalogue, edited by Wolf Eiermann . . . is another effort to make the picture of 400 year of handcolouring more complete . . . The Sammlung Frank, a private collection in Stuttgart focused on German art and formed in the previous century, served as the main source, supplying about 110 of the 134 catalogued items (304) . . . The period from c. 1760 to 1880 is well represented with about one hundred items, mainly topographical, but also on costumes and natural history, including a rare example of Christian Gottlieb Ludwig’s Ectypa vegetabilium . . . / Nach der Nature verfertigte Abdrucke der Gewachse (nature-printed prints of plants; Halle and Leipzig, 1760–64) with 200 nature prints in contemporary colouring” (306).

Peter Fuhring, Review of Thomas Wilke, Innendekoration: Graphische Vorlagen und theoretische Vorgaben für die wandfeste Dekoration von Appartements im 17. und 18. Jahrhundert in Frankreich, 2 volumes (Scaneg Verlag, 2016), pp. 308–10.

The study of prints related to the decoration of secular interiors in France from the seventeenth and eighteenth centuries, in association with theoretical guidelines, . . . reveals an ambition that is difficult to fulfill. . . So far not a single catalogue or study encompasses the entire French print production of wall decorations, mantelpieces and ceilings made during both centuries. . . Further research is necessary to complete the still lacunar state of our knowledge. This is what Wilkie strives to do. His study is composed of two parts: the first volume offers a presentation of the issues as set out in the title, while the second consists of a catalogue of prints that form the basis of the author’s demonstration (308).

Véronique Meyer, Review of Katie Scott, Becoming Property: Art, Theory, and Law in Early Modern France (Yale University Press, 2018), pp. 313–15.

[Scott’s] recent book . . . examines the relationship between intellectual property and the visual arts in France from the sixteenth century to the beginning of the nineteenth . . . It traces the history of this relationship, highlighting key moments with exemplary case studies as well as citing regulations and legal texts, (313) and examines the role of the parties involved, including booksellers, publishers, engravers, draughtsmen and authors. Although the sixteenth and seventeenth centuries occupy and important place in the book, which shows how the definition of privilege and copyright evolved over the years, it is above all France of the Enlightenment and Revolution that lies at the heart of this study (314). . . [It] is a must for all who are interested in the history of printmaking, the decorative arts and artistic theories and institutions such as the Académie Royale (315).

David Bindman, Review of Cynthia Roman, ed., Hogarth’s Legacy (Yale University Press, 2016), pp. 315–16.

Hogarth’s enormous and long-lasting influence on art and popular imagery is the subject of a series of essays, largely by scholars of eighteenth-century art, including . . . Douglas Fordham, Dominic Hardy, Brian Maidment, Patricia Mainardi, Ronald Paulson, Mark Salber Philips, and Michael Printy. . . Collections of essays inevitably fall somewhere on the spectrum between the tightly focused, based on a close conversation between the authors, and the loose and baggy, in which the connections between the essays are more informal. Although the quality of the essays is uniformly excellent, this volume tends more toward the baggy . . . The main and entirely commendable purpose of the volume seems to have been to make scholarly use and draw further attention to the relatively little-known and underused, and in some areas quite spectacular, collections of Hogarth engravings and late eighteenth-century caricature in the Walpole Library (315).

Roger Paas, Review of Josef Biller, Calendaria Bambergensia: Bamberger Einblattkalender des 15. bis 19. Jahrhunderts von der Inkunabelzeit bis zur Säkularisation, 2 volumes (Anton H. Konrad Verlag, 2018), pp. 317–19.

Biller has dedicated over four decades to the collecting and studying of broadside (316) calendars published for the bishopric of Bamberg, and the results of his in-depth research have now been published in a detailed and richly illustrated two-volume catalogue (318).

Daniel Godfrey, Review of Anke Fröhlich-Schauseil, Schenau (1737–1806): Monografie und Werkverzeichnis der Gemälde, Handzeichnungen und Druckgrafik von Johann Eleazar Zeißig, gen. Schenau (Michael Imhof Verlag, 2018), pp. 319–23.

The son of a damask weaver from Großschönau in Saxony, Schenau fled the outbreak of the Seven Years’ War in 1756 to Paris. There he Frenchified his name and established a reputation as an artist of ‘society paintings’ focused on liaisons between the sexes, coiffure and the texture of material. The mentorship of Johann Georg Wille (17151808), engraver, print publisher and art dealer, must have motivated Schenau to execute a set of twelve etchings in 1765, six of children acting as adults and six of heads . . . These were to remain Schenau’s only autograph prints (319) . . . Yet, Schenau’s career developed in symbiosis with the print.

Mark Bills, Review of John Ford, Rudolph Ackermann and the Regency World (Warnham Books, 2018), pp. 323–25.

Although Ackermann belongs to and epitomizes the Regency Period (17881830), one cannot help but think that he would be a very useful figure in the art and design world of today (323) . . . John Ford has absorbed an enormous body of material and given us a fascinating chronological account of Ackermann as well as adding important new research and insights (324).

P U B L I C A T I O N S  R E C E I V E D

• Joachim Jacoby, Guillaume Jean Constantin (1755–1816): A Drawings Dealer in Paris (Ad Ilissum for the Fondation Custodia, 2018), p. 339.

• Peter Stoll, Französische Buchillustration des 18. Jahrhunderts in der Oettingen-Wallersteinschen Bibliothek (Universität Augsburg Bibliothek, 2018), p. 339.

• Thora Brylowe, Romantic Art in Practice: Cultural Work and the Sister Arts, 1760–1820 (Cambridge University Press, 2019), p. 339.

• Helen Rosslyn, A Buyer’s Guide to Prints (The Royal Academy of Arts in association with the London Original Print Fair, 2018), p. 342.

 

 

Call for Submissions | Metropolitan Museum Journal

Posted in Calls for Papers, journal articles by Editor on June 12, 2019

Metropolitan Museum Journal 55 (2020)
Submissions due by 15 September 2019

The Editorial Board of the peer-reviewed Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection. There are two sections: Articles and Research Notes. Articles contribute extensive and thoroughly argued scholarship. Research Notes typically present a concise, neatly bounded aspect of ongoing investigation, such as a new acquisition or attribution, or a specific, resonant finding from technical analysis. All texts must take works of art in the Museum’s collection as the point of departure.

As of 2019, the process of peer review is double-blind. Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial, conserva­tion, and scientific departments, as well as scholars from the broader academic community. Articles and Research Notes in the Journal appear both in print and online, and are accessible via MetPublications and the Journal’s home page on the University of Chicago Press website.

The deadline for submissions for volume 55 (2020) is September 15, 2019. Submission guidelines are available here. Please send materials to journalsubmissions@metmuseum.org.

Print Quarterly, June 2019

Posted in journal articles by Editor on May 31, 2019

Francisco Goya, Tan poco (So little), plate 36 of the Disasters of War, ca. 1810–13, etching and aquatint, 157 × 205 mm
(London: British Museum)

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The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 36.2 (June 2019)

A R T I C L E S

Natalia Keller, “On Goya’s Disasters of War, Plates 69 and 36,” pp. 139–45.

Francisco Goya (1746–1828) paid careful attention to both the visual and textual components of his compositions. The concise titles accompanying the images of his prints were an important reflection of their author’s intention. The article highlights how posthumous changes made by the Royal Academy to the Disasters of War series substantially changed their meanings. The change from Nada. Ello lo dice to Nada. Ello dirá has been noted and discussed. An explanation and interpretation of Goya’s hitherto overlooked original title Tan poco (‘So little’), which was erroneously changed to Tampoco, is here proposed.

N O T E S  A N D  R E V I E W S

Stephen Bergquist, “Reversed States of Two Landscapes by Crescenzio Onofri,” pp. 181–85.

“Onofri’s etches oeuvre consists of twelve landscape prints after his own series of paintings of 1696, five with mythological subjects, in larger format, and seven in pure landscape, in smaller format” (183). Bergquist corrects the misidentification in The Illustrated Bartsch (volume 45, 1990) of two states of two of the landscape prints: The Double-Arched Bridge and A Waterfall.

Caspar David Friedrich, Woman Seated under a Spider’s Web (Melancholy), ca. 1803, woodcut, 171 × 121 mm (Philadelphia Museum of Art).

Elizabeth McGrath, Review of Temi Odumosu, Africans in English Caricature 1769–1819: Black Jokes, White Humor (Brepols, 2017), pp. 185–88.

Temi Odumosu’s book addresses the black figure in British satirical prints by artists such as Thomas Rowlandson, James Gillray, Isaac and George Cruikshank, and Richard Newton, some of it a low-point in the history of racist imagery. Odumosu demonstrates how the ultimate target of the satire is almost always white people, the black characters in the prints being there as agents, or simply elements, in the mockery of others. Through her dedicated researches, Odumosu has uncovered a mass of new information and teased out previously baffling contemporary references, including to popular songs, theatre, and opera. In short, the book is, according to McGrath, “a triumph of historical scholarship which has particular importance for and relevance to the understanding of society in Britain today” (188).

Peter Prange, Review of John Ittmann, ed., Enchanted World of German Romantic Prints, 1770–1850 (Yale University Press, 2017), pp. 226–31.

John Smith Philipps bequeathed his collection of about 8,500 German prints to the Pennsylvania Academy of Fine Arts in Philadelphia. “In 1985 it was purchased by the Philadelphia Museum of Art and a first exhibition entitled Art and Nature: German Printmaking, 1750–1850 followed in 1992. It is now the subject of the extensive volume The Enchanted World of German Romantic Prints, 1770–1850. . .” (227).

P U B L I C A T I O N S  R E C E I V E D

• Florian Knothe, Pascal-François Bertrand, Kristel Smentek, and Nicholas Pearce, Imagining Qianlong: Louis XV’s Chinese Emperor Tapestries and Battle Scene Prints at the Imperial Court in Beijing, exhibition catalogue (Hong Kong University Press, 2017), p. 208.

• The Multigraph Collective, Interacting with Print: Elements of Reading in the Era of Print Saturation (The University of Chicago Press, 2018), p. 208.

• Pietro Giovanni Guzzo, et al., Ercolano e Pompei: Visioni di una scoperta / Herculaneum and Pompeii: Visions of a Discovery (Skira, 2018), pp. 208–09.

• Nicola Streeten and Cath Tate, eds., with contributions by Sheila O’Connell, Simon Grennan, Elizabeth Crawford, Carol Bennett, and Sofia Niazi, The Inking Woman: 250 Years of British Women Cartoon and Comic Artists (Myriad Editions, 2018), p. 209.

Journal of the History of Collections, March 2019

Posted in books, journal articles, reviews by Editor on March 14, 2019

The eighteenth century in the Journal of the History of Collections:

Journal of the History of Collections 31 (March 2019)

A R T I C L E S

Lisa Beaven and Karen Lloyd, “Cardinal Paluzzo Paluzzi degli Albertoni Altieri and His Collection in the Palazzo Altieri: The Evidence of the 1698 Death Inventory, Part II,” pp. 1–16. “This article is the second part of a study of the collection of Cardinal Paluzzo Altieri (1623–1698) based on the evidence of his 1698 death inventory. Part I considered his paintings collection, housed on the first piano nobile of the palace. This study moves to the second piano nobile apartment and considers a broader range of material objects, including sculpture, tapestry, devotional objects, and naturalia, some of which (such as the American import, chocolate) reflect the globalization of the early modern world” (from the abstract).

Noam Sienna, “‘Remarkable Objects of the Three . . . Main Religions’: Judaica in Early Modern European Collections,” pp. 17–29. “The diverse collections of early modern Europe, housed in cabinets of curiosities and Kunstkammern, attempted to capture the wonder of the world through specimens of nature, classical and other artefacts, scientific instruments, works of art, and rare and curious objects from around the world. While it is known that they included objects of ethnographic interest from the New World, Africa, and Asia, the place of Judaica in these collections remains largely unknown and unexplored. This article presents an analysis of the collection and display of Jewish objects in Europe from the sixteenth to the eighteenth centuries” (from the abstract).

Renata Schellenberg, “The Literary Legacy of the Düsseldorfer Gemäldegalerie,” pp. 31–40. “This article explores a range of literary responses to the Düsseldorf picture gallery in the eighteenth century. It examines in particular the ways in which written accounts of experiencing the Düsseldorf collection reveal the contemporary understanding of its works of art and their modes of display. It investigates the ways in which texts bear witness not just to the art in the collection but also to the social interactions informing their representation to readers” (from the abstract).

Sileas Wood, “‘After the Very Rare Original’: Artist and Antiquary the Revd John Brand,” pp. 41–52. “During the closing years of the eighteenth century, minister and antiquary the Revd John Brand (1744–1806) undertook an extraordinary project of creating facsimile drawn copies of rare prints, with which to illustrate James Granger’s Biographical History of England. Between 1790 and 1800 Brand personally created over 400 drawn copies of portrait prints which can be identified through his own annotations, a manuscript catalogue, and the catalogue of his posthumous sale. This paper will examine Brand’s surviving works, his processes and the ways in which his drawings were shaped by his status as an antiquary, amateur artist, and print collector” (from the abstract).

Roberto González Ramos, “Treasures and Collections in the Colegio Mayor de San Ildefonso and University of Alcalá: Trophies, ‘Spolia Sancta’ and Museum,” pp. 111–30. “The Colegio Mayor de San Ildefonso and University of Alcalá was an important cultural institution in the Hispanic world of the early modern era. Founded by Cardinal Ximénez de Cisneros (1436–1517), it assembled an important group of symbolic objects, amongst them trophies, relics, images and mirabilia. The beatification of the founder led not only to a corresponding increase in the numbers of those objects, seen as relics, but also to their display in particular places, with the creation of a number of proto-museums. With the coming of the Enlightenment, a number of veritable museums were formed, with consequent changes in the values attributed to the symbolic items. From that time until the creation in 1836 of the University of Madrid, by making use of the assets and professorships of the University of Alcalá, the remaining symbolic objects were considered primarily as illustrating the history of the institution” (from the abstract).

Marc Fecker, “Sir Philip Sassoon at 25 Park Lane: The Collection of an Early Twentieth-Century Connoisseur and Aesthete,” pp. 151–70. “Sir Philip Sassoon (1888–1939) housed the largest and most valuable part of his collection in his lavish Park Lane residence in London. It was demolished in the early 1960s and the collection is now dispersed. This paper reconstructs the collection at Park Lane, which consisted predominantly of French eighteenth-century fine and decorative art, as well as English eighteenth-century portraiture and works by contemporary artists, many of which were commissioned by Sassoon. It explores how he moulded the collection he inherited from his parents and his maternal grandparents, Gustave and Cécile de Rothschild, to his own taste, and to his own time, while continuing the Rothschild tradition” (from the abstract).

Dora Thornton, “Baron Ferdinand Rothschild’s Sense of Family Origins and the Waddesdon Bequest in the British Museum,” pp. 181–98. “Baron Ferdinand Rothschild (1839–1898) is usually remembered for Waddesdon Manor in Buckinghamshire and for the Waddesdon Bequest, his splendid gift of Renaissance treasures to the British Museum, recently reinterpreted in a new gallery. The author analyses Baron Ferdinand’s unpublished reminiscences, revealing his interest in the history and mythology of the Rothschilds as a Frankfurt Jewish banking dynasty. The status and significance of Judaica in the Waddesdon Bequest and other family collections is also explored within the context of nineteenth-century collecting, the development of the art market and an emerging sense of a Jewish European history and identity” (from the abstract).

R E V I E W S

Peter Mason, Review of Elizabeth Horodowich and Lia Markey, eds, The New World in Early Modern Italy, 1492–1750 (Cambridge University Press, 2017), p. 199.

Barbara Furlotti, Review of Adriano Amendola, Ritratti di bronzo: Il Medagliere Orsini dei Musei Capitolini di Roma (De Luca Editore d’Arte, 2017), p. 200. “By offering the first catalogue of the Medagliere Orsini, now preserved at the Musei Capitolini in Rome, this lavishly-illustrated volume enriches our knowledge of this prestigious noble clan from an original perspective. The first part of the book features three essays . . . The first essay reconstructs the complex history of the Orsini collection of ancient coins and modern medals between the death of the last Duke of Bracciano, Flavio Orsini (1620–1698), and the acquisition of what was left of the collection by the Municipio di Roma in 1902. The second essay focuses on the collecting interests of some members of the Orsini family [during the sixteenth and seventeenth centuries]. . . The third essay, which is based on a large corpus of unpublished documents, offers interesting insights on Paolo Giordano II’s patronage and on the celebrative medals commissioned by Pope Benedict XIII Orsini (1649–1730). . .  The catalogue of the Medagliere Orsini occupies the second part of the book. It includes fifty-two entries dedicated to medals, and seventeen entries for plaquettes and seals” (199).

Eloisa Dodero, Review of Klauss Fittschen and Johannes Bergemann, eds., Katalog der Skulpturen der Sammlung Wallmoden (Biering & Brinkmann, 2015), pp. 204–05. “The Wallmoden statues are still beautifully displayed in the Institute of Archaeology at Göttingen and the new catalogue . . . is an appropriate fulfilment of almost forty years of research on one of the oldest assemblages of ancient sculptures in Germany and an exceptional testimony of the eighteenth-century reception of ancient art. The collection, which formerly included also paintings, gems, books, drawings, plaster casts and copies after the Antique, was formed in the second half of the eighteenth century by General Johann Ludwig von Wallmoden (1736–1811), later Reichsgraf (Imperial Count) von Wallmoden-Gimborn, an illegitimate son of King George II of Great Britain” (204).

Stephen Harris, Review of Sarah Easterby-Smith, Cultivating Commerce: Cultures of Botany in Britain and France, 1760–1815 (Cambridge University Press, 2017), pp. 206–07.

Arthur MacGregor, Review of Margot Finn and Kate Smith, eds., The East India Company at Home, 1757–1857 (UCL Press, 2018), pp. 207–08.

 

Print Quarterly, March 2019

Posted in books, exhibitions, journal articles, reviews by Editor on March 4, 2019

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 36.1 (March 2019)

S H O R T E R  N O T I C E

Donatella Biagi Maino, “Gaetano Gandolfi’s Album of Prints by Giambattista and Giandomenico Tiepolo,” pp. 45–54. Focusing on a little known album of prints assembled by Gaetano Gandolfi (1734–1802), the article explores the relationship between Bolognese and Venetian art in the second half of the eighteenth century, with a particular emphasis on the generative role of the works of Giambattista and Giandomenico Tiepolo.

N O T E S  A N D  R E V I E W S

• Angela Nikolai, Review of the exhibition catalogue, Zeichenunterricht: Von der Künstlerausbildung zur ästhetischen Erziehung seit 1500 (Graphische Sammlung ETH Zürich, 2017–18), pp. 63–64. “On its 150th anniversary, the Graphische Sammlung ETH Zurich hosted three exhibitions, the last of which presented and drawings related to artistic training since the sixteenth century” (63), focusing on Italian, Dutch, and German engravings and etchings from the sixteenth to the nineteenth centuries. “The selection ranges from reproductive prints of antiquities and painted academy scenes to anatomical prints or sheets from drawings books” (64).

Chinese Bird-and-Flower wallpaper at Felbrigg Hall, Norfolk, ca. 1752, woodblock-printed outlines with the colours added by hand (David Kirkham / National Trust).

• Ming Wilson, Review of Emile de Bruijn, Chinese Wallpaper in Britain and Ireland (London, Philip Wilson Publishers, 2017), pp. 64–66. Drawing on the archives of the National Trust and on works still in situ, this volume establishes a chronology charting what kind of wallpaper was in fashion in the British Isles from 1740 onwards. “It is no exaggeration to say that this book is a comprehensive listing of all Chinese wallpapers known to be in existence today and an indispensable reference work on the subject, with a history of British interior design thrown into the bargain” (66).

• Armin Kunz, Review of the exhibition catalogue, Copy.Right: Adam von Bartsch: Kunst Kommerz Kennersschaft (Kunstsammlung der Universität Göttingen, 2016), pp. 66–68. The 31 essays “assembled in this volume present welcome additions to these final chapters in the long-neglected history of the reproductive print” (68).

Kitagawa Utamaro, The Courtesan Onitsutaya Azamino Tattooes Her Name and the Word ‘inochi’ (Life) into the Arm of Her Lover Gontar, a Man of the World, ca. 1798–99, woodblock print (Boston: MFA).

• Ellis Tinios, Review of Sarah Thompson, Tattoos in Japanese Prints (MFA, Boston: 2017), pp. 68–69. “Thompson’s concise and informative introductory essay explores the meaning of tattoos in Japanese society. . . Large-scale body tattoos appear to have originated in the late eighteenth century among ‘bandits’ and were then taken up by petty criminals, firemen, and others on the margins of society. The practice was banned in the 1810 with little effect” (68).

• Desmond-Bryan Kraege, review of Rolf Reichardt, ed., Lexikon der Revolutions-Ikonographie in der europäische Druckgraphik, 1789–1889, 3 volumes (Münster, Rhema, 2017), pp. 70–71. “The fruit of extensive documentary research in the collections of almost 50 European institutions,” this publication “provides a good complement to an encyclopaedic work that is set to become an indispensable reference for students of print culture and political art during the long nineteenth century” (71).

• Exhibition catalogue, Hélène Iehl and Felix Reusse, eds, La France, Zwischen Aufklärung und Galanterie: Meisterwerke der Druckgraphik​ / La France au siècle des Lumières et de la galanterie: Chefs-d’œuvre de la gravure (Michael Imhof Verlag, 2018), p. 92. “This exhibition catalogue celebrates the gift to the museum in Freiburg, Germany, from the local collector Joseph Lienhart, of his collection of French prints of the eighteenth century formed since the 1970s” (92). [Noted under ‘publications received’.]

Anonymous artist after a drawing by Robert Bonnart, published by Nicolas Bonnart I, Portrait of Catherine Thérèse de Matignon, Marchioness of Seignelay, Wearing Fontange, a Black Veil and Mantua with a Blue Petticoat, 1690–96, hand-coloured etching and engraving, 290 × 196 mm (London: British Museum).

• Anthony Griffiths, review of Pascale Cugy, La Dynastie Bonnart: Peintres, Graveurs et Marchands de Modes à Paris sous L’ancien Régime (Presses Universitaires de Rennes, 2017), pp. 103–05. The Bonnart family “are one of the few producers that have given their name to a genre: in the nineteenth century ‘Bonnarts’ became a term used to define the full length men and women in fashionable clothing standing against a plain or a simple background” (103). This book focuses on the production of the Bonnart family over a century, shedding new light on eighteenth-century France not only from an artistic point of view, but also from a social and legal one.

• Mark McDonald, review of exhibition catalogue, Ceán Bermúdez: Historiador del arte y coleccionista ilustrado (Madrid, Biblioteca Nacional de España, 2016), pp. 106–11. Drawing upon a rich variety of sources, this catalogue focuses on one of the most eclectic and interesting figures of the Spanish Enlightenment: the art collector, patron, writer, and historian Juan Augustín Ceán Bermúdez (1749–1829). “Ceán is often described as the first historian of Spanish art and his writings include translations, catalogues, and descriptions of art collections” (106). With five chapters and 158 individual entries, this publication from the 2016 exhibition in Madrid “presents groundbreaking scholarship and is the most complete study of this fascinating figure” (106).

Eighteenth-Century Studies, Winter 2019

Posted in books, journal articles, reviews by Editor on January 30, 2019

The latest issue of Eighteenth-Century Studies includes a forum in memory of Mary Sheriff, edited by Jennifer Germann and Michael Yonan. Their introduction brilliantly situates Mary’s role within eighteenth-century art history, making sense of the field in relation to ASECS (and implicitly, HECAA). It works not only as a tribute to a much loved scholar; it’s among the best institutional historiography I’ve ever encountered in just three pages. –CH

Eighteenth-Century Studies 52 (Winter 2019)

Forum in Memory of Mary D. Sheriff

• Jennifer Germann and Michael Yonan, “Mary Sheriff and ASECS,” pp. 151–54.
• Dena Goodman, “On History and Art History (and Women, of course),” pp. 155–58.
• Tili Boon Cuillé, “Songs of Sorrow: Bardic Women in Girodet, Ossian, and Staël,” pp. 159–65.
• Christopher M. S. Johns, “Making History at the Capitoline Museum: Maria Tibaldi Subleyras’s Christ in the House of Simon the Pharisee,” pp. 167–71.
• Kathleen Nicholson, “Having the Last Word: Rosalba Carriera and the Académie Royale de Peinture et de Sculpture,” pp. 173–77.
• Melissa Hyde, “Something About Mary,” pp. 179–82.

Research Essays

• Samuel Rowe, “Beckford’s Insatiable Caliph: Oriental Despotism and Consumer Society,” pp. 183–99.
• Stephanie O’Rourke, “Histories of the Self: Anne-Louis Girodet and the Trioson Portrait Series,” pp. 201–23.
• Celestina Savonius-Wroth, “Bardic Ministers: Scotland’s Gaelic-speaking Clergy in the Ossian Controversy,” pp. 225–43.
• Juliane Engelhardt, “Anxiety, Affect, and the Performance of Feelings in Radical Pietism: Towards a Topography of Religious Feelings in Denmark-Norway in the Early Enlightenment,” pp. 245–61.

Review Essay

• Melvyn New, Review of The Letters of Oliver Goldsmith, ed. by Michael Griffin and David O’Shaughnessy (Cambridge University Press, 2018), pp. 263–70.

Book Reviews

• Mary McAlpin, Review of The Woman Question in France, 1400–1870 by Karen Offen (Cambridge University Press, 2017), pp. 271–72.
• Mary Beth Harris, Review of Masculinity, Militarism and Eighteenth-Century Culture, 1689–1815 by Julia Banister (Cambridge University Press, 2018), pp. 273–74.
• Elizabeth C. Libero, Review of Disciplining the Empire: Politics, Governance, and the Rise of the British Navy by Sarah Kinkel (Harvard University Press, 2018), pp. 275–76.

Books Received, pp. 277–78.

The Burlington Magazine, January 2019

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on January 25, 2019

The eighteenth century in The Burlington: (with the issue focused on Westminster Abbey) . . .

The Burlington Magazine 161 (January 2019)

A R T I C L E S

• Susan Jenkins, “‘Sunbeams and Shadows’: Exhibiting the Collection at Westminster Abbey,” pp. 4–8. The Queen’s Diamond Jubilee Galleries, opened last year, display works of art and historic artefacts from the collections at Westminster Abbey, London. To introduce this special issue of the Magazine, the Abbey’s Curator, outlines the history of the building’s museum displays and explains the thinking behind the new galleries.
• Gordon Higgott, “Sir Christopher Wren’s Failed Project for a Crossing Tower and Spire at Westminster Abbey, 1713–25,” pp. 44–57. In 1713, with funds available for ‘finishing’ Westminster Abbey, the Surveyor to the Fabric, Sir Christopher Wren, began to plan the addition of a lofty crossing tower and spire. After Wren’s death in 1723 the proposal was shelved by his successor, Nicholas Hawksmoor, who recognised that it presented an insoluble structural problem.

R E V I E W S

• Lynn Jones, Review of the exhibition Armenia! (The Metropolitan Museum of Art, 2018–19), pp. 60–63.
• Eric Zafran, Review of the exhibition The Orléans Collection (New Orleans Museum of Art, 2018–19), pp. 67–69.
• Reinier Baarsen, Review of the exhibition Luigi Valadier: Splendor in Eighteenth-Century Rome (The Frick Collection, 2018–19), pp. 70–71.
• Michael Hall, Review of Karl-Georg Pfändtner, ed., ‘Gold und Bücher lieb ich sehr…’: 480 Jahre Staats- und Stadtbibliothek Augsburg (Quaternio Verlag, 2017), pp. 85–87.
• Roger White, Review of Rosemary Yallop, Cottages Ornés: The Charms of the Simple Life (Yale University Press, 2017), pp. 89–90.
• Gauvin Alexander Bailey, Review of Vittorio Magnago Lampugnani, Die Stadt von der Neuzeit bis zum 19. Jahrhundert: Urbane Entwürfe in Europa und Nordamerika (Verlag Klaus Wagenbach, 2017), pp. 92–93.

 

 

Print Quarterly, December 2018

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on December 3, 2018

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 35.4 (December 2018)

François Vivares after Samuel Wale, Trade Card of Henry Scott, Gardener and Fruitseller, Weybridge, Surrey, 1754, etching and engraving, 281 × 211 mm (London: The British Museum).

A R T I C L E S

• Bryony Bartlett-Rawlings, “Jonathan Richardson (1667–1745) as Etcher,” pp. 392–406.
On the basis of the 1772 auction catalogue for the sale of Jonathan Richardson Jr’s collection, the article sheds light on Richardson’s activity as a printmaker, his working method, and intended audience. By quoting contemporary correspondence by and on the artist, the article also places Richardson’s etchings within the context of his life and work.

• Martin Hopkinson, “Gardeners’ Trade Cards by William Kilburn and François Vivares,” pp. 420–26.
Deservedly famous for his outstanding textile designs and illustrations to William Curtis’s Flora Londinensis, Kilburn also etched a trade card for the gardener Thomas Greening, an image of great botanical precision. A comparison is drawn with two elaborate trade cards for gardeners by François Vivares.

N O T E S  A N D  R E V I E W S

• Jean-Gérald Castex, Review of the exhibition catalogue, A Kingdom of Images: French Prints in the Age of Louis XIV, 1660–1715 (Getty Research Institute, 2015; and Bibliothèque National de France, 2015–16), pp. 430–32.

• An Van Camp, Review of Ad Stijnman and Simon Turner, ed., The New Hollstein Dutch & Flemish Etchings, Engravings, and Woodcuts, 1450–1700: Johannes Teyler and Dutch Colour Prints, parts 1–4 (Sound and Vision Publishers, 2017), pp. 432–34.

• Ger Luijten, Review of Nico Boerma, Aernout Borms, Alfons Thijs, and Jo Thijssen, eds., Kinderprenten, Volksprenten, Centsprenten, Schoolprenten: Populaire grafiek in de Nederlanden 1650–1950 (Uitgeverij Vantilt, 2014), p. 434.
“At more than a thousand pages,” this volume “is a reference work that deserves a place in any library striving to cover the history of printmaking … Written and compiled by Dutch and Flemish specialists of popular prints over a period of some ten years, it provides a mine of information that is nowhere else to be found … The book has a useful summary in English and German.”

• Anthony Dyson, Review of Richard Goddard, Drawing on Copper’: The Basire Family of Copper-Plate Engravers and Their Works (Maastricht University Press, 2016), pp. 437–39.

• Notice of the exhibition catalogue, Marcela Vondráčková, Norbert Grund (1717–1767): Půvab všedního dne / The Charm of the Everyday, Czech and English (National Gallery in Prague, 2017), p. 459.
“This handsomely-illustrated exhibition catalogue gives a survey of the work of the delightful rococo painter Norbert Grund (1717–1767), who is scarcely known outside Central Europe … We look forward to learning more … in a comprehensive monograph on Grund’s oeuvre, which is due to be published by Marcela Vondráčková.”

• Patricia Emison, Review of Susanna Berger, The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment (Princeton University Press, 2017), pp. 471–74.
“Berger’s readable and well-illustrated account tackles the topic of logic’s contribution to the history of visualization, and of scholastics’ interest in transmitting knowledge via images … Berger has dug deep in unusual places,” including a mnemonic treatise of 1725 and eighteenth-century student notebooks from Paris and Leuven. “This is fascinating material.”

• Sarah Grant, Review of April Calahan, Fashion Plates: 150 Years of Style (Yale University Press, 2015), pp. 474–78.

The French Porcelain Society Journal 7 (2018)

Posted in journal articles by Editor on November 20, 2018

Image from the front cover: Vase ‘Théricléen’, formerly with gilt-bronze handles, hard-paste porcelain, painted in enamel colours and gilt. The side of the rim bears the Sèvres factory mark for 1844 and a printed label lettered “Given by His Majesty King Louis Philippe First, King of the French, to Wm. Standish Standish, ESQ., September 1844.” 51cm high, including an ormolu base 2.8cm high (The Bowes Museum, Barnard Castle, 1995.33).

◊  ◊  ◊  ◊  ◊

Copies can be ordered from the Society’s website:

Diana Davis, Oliver Fairclough and John Whitehead, eds., French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums. The French Porcelain Society Journal 7 (2018), 282 pages, £20 UK, £30 overseas.

The French Porcelain Society is delighted to announce the publication of its new journal French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums.  Dedicated to the porcelain specialist Anthony du Boulay, the journal has been edited by Diana Davis, Oliver Fairclough and John Whitehead. Thirteen peer-reviewed articles, fully illustrated in colour and black and white, cover, among much else, topics such as porcelain made in the service of the French Revolution, the formation of outstanding British collections of French porcelain by George Watson-Taylor and Lady Dorothy Nevill, the influence of the historian Baron Jean-Charles Davillier, the growth of the new museums and the role of the dealer in decorative art. Towering over the whole is Alexandre Brongniart, with articles on the Expositions des Produits de l’Industrie française and his influence on the ceramics collection at the little-known Museum of Practical Geology in London’s Jermyn Street. Other contributions discuss technical advances at the Sèvres manufactory during the nineteenth century, Paris porcelain, nostalgia for ‘vieux Sèvres’ and ‘vieux Saxe’ in France, a ceramics conundrum of grand vases, a royal gift from Louis Philippe to the Standish family, and, leading into the twentieth century, the ceramics of Seraphim Soudbinine.

C O N T E N T S

• Tom Stammers, Historian, Patriot and Paragon of Taste: Baron Jean-Charles Davillier (1823–83) and the Study of Ceramics in Nineteenth-Century France
• Iris Moon, Mirabeau in Biscuit: Political Reputations and the Changing Aesthetics of Porcelain during the French Revolution
• Antoine d’Albis, Les progrès techniques à Sèvres au XIXe siècle
• Elodie Goëssant, Imitator or Connoisseur? A Study of the Sèvres Porcelain Collection of George Watson Taylor, Esq., MP (1771–1841)
• Tamara Préaud with Aileen Dawson, Alexandre Brongniart and the Expositions des Produits de l’industrie française, 1819–44
• Susan Newell, Alexandre Brongniart, Museological Muse? Reflections on Brongniart’s Influence on the Formation of the Ceramics Collection at London’s Museum of Practical Geology, c. 1850
• Howard Coutts, Louis Philippe’s Gifts of Sèvres Porcelain to the Standish Family of Duxbury Hall, Lancashire, and Cocken Hall, County Durham
• Régine de Plinval de Guillebon, De la Porcelaine fabriquée à Paris à la Porcelaine décorée à Paris Evolution pendant la première moitié du XIXe siècle
• Audrey Gay-Mazuel, Nostalgie pour le ‘vieux Sèvres’ et le ‘vieux Saxe’: Les lignes rocailles de la porcelaine de Paris au XIXe siècle
• Caroline McCaffrey-Howarth, Reclaiming Her Scandalous Past: Lady Dorothy Nevill (1826–1913) as a Collector of Sèvres Porcelain
• Diana Davis, From Private to Public: A Dihl and Guérhard ‘Sabines’ Vase
• Bet McCleod and John Whitehead, A Grand Confusion of Sèvres Vases
• Ekaterina Khmelnitskaya, Seraphin Soudbinine: From Rodin’s Assistant to Ceramic Artist