Enfilade

Call for Articles | Féminismes en Europe, 1789–1820

Posted in Calls for Papers, journal articles by Editor on April 26, 2021

From the Call for Papers:

Féminismes en Europe, 1789–1820
Speical Issue of Annales historiques de la Révolution française, 2023

Proposals due by 15 September 2021

Dans le cadre d’un numéro spécial des Annales historiques de la Révolution française, nous sollicitons des contributions sur le thème suivant: « Féminismes en Europe »

Si le terme « féminisme(s) » n’est pas encore en vigueur à l’époque, la période allant de 1789 aux années 1820 est témoin de nombreuses prises de position en faveur des droits des femmes, appelant notamment à leur émancipation et/ou à leur intégration dans les conceptions de la citoyenneté qui s’imposent alors. On peut y inclure les discours sur l’éducation, sur la domination des hommes, sur l’égalité des sexualités, sur les moyens de remédier à la dépendance économique des femmes, sur la critique du mariage, c’est-à-dire le militantisme sous ses différentes formes mais aussi les prises de position contre-révolutionnaires ou anti-modernes dès lors qu’elles sont reliées, par les auteurs et autrices, à la question de l’émancipation des femmes. Malgré une historiographie abondante et en constante évolution sur le sujet depuis les années 1990, nous pensons qu’il est nécessaire de dresser un nouvel état des lieux de la question, en décalant notre regard de la seule scène française afin d’inclure les échanges et influences étrangères au sein du monde transatlantique (incluant l’Europe, ses colonies et ex-colonies).

Le fait est que si l’on documente et identifie bien, désormais, les prises de position des grandes figures qui, en France, ont pris la défense des femmes pour réclamer l’égalité des droits civils ou politiques — telles que Condorcet, Olympe de Gouges, Romme ou Guyomar ; si l’on commence à s’intéresser à des voix égalitaristes plus mineures comme, toujours en France, celle de Pons de Verdun (Lumbroso, 2021) ; si l’on connaît grâce aux travaux de Dominique Godineau (1989), Suzanne Desan (2002), Martine Lapied (2006) ou encore Laura Talamante (2017), l’engagement politique des « citoyennes tricoteuses » et « Amazones » dans le processus de démocratisation populaire, que ce soit à Paris ou à Marseille ; si l’on sait le rôle joué par certaines figures féminines comme Théroigne de Méricourt (Desan, 2020) ou Mary Wollstonecraft dans la diffusion et la réception des idées favorables à l’émancipation des femmes (Bour, 2013 par exemple) ; si l’on a mesuré l’importance des pétitions de femmes dans le processus de démocratisation de la société française à l’époque de la Révolution (Fauré, 2006) ; si le débat fut vif autour des raisons qui ont exclu (ou pas inclus) les femmes du droit de vote (Verjus, 2014) ; si on a commencé à s’intéresser avec sérieux à l’action politique des femmes engagées dans la contre-révolution (Mabo, 2017) ; enfin, si l’on connaît le niveau d’éducation extrêmement sophistiqué, parfois directement inspiré des écrits de Wollstonecraft, que certains hommes politiques américains ont fait donner à leur fille (par exemple, Theodosia fille d’Aaron Burr) ; si l’on a, par conséquent, amplement répondu à la question que posait Perrot en 1984 : une histoire des femmes est-elle possible ?, en la prolongeant d’interrogations menées à partir du point de vue plus englobant et conceptuel qu’adoptent les études de genre, plus rares sont les tentatives de dégager des visions d’ensemble des réseaux et des circulations d’idées sur la situation et l’émancipation des femmes au niveau européen dans les années 1790–1820, de l’ordre de celle qu’avait esquissée Margaret McFadden (1999) pour tout le XIXe, ou de celle qu’ont plus récemment tentée les coordinatrices de Transatlantic Feminisms in the Age of Revolutions (2012). S’il convient donc d’interroger l’engagement « féministe » des auteurs et autrices européens, à la suite, par exemple, des travaux consacrés aux Allemand·es Hippel (Gray, 1990) ou Sophie von La Roche (Joeres, 1986), aux Anglais comme Lawrence (Verjus, 2019), Holcroft (Binhammer, 2011), ou Godwin (Philp, 2020), ou encore aux Polonaises engagées dans les débats de la « Grande Diète » (Wisniewska, 2021), nous retiendrons aussi les nouvelles perspectives historiographiques sur des figures, des échanges, ou des mouvements moins connus. Nous accueillerons aussi les propositions qui se concentrent sur les réseaux comme, par exemple, les travaux sur le rôle des cercles masculins dans la construction d’un féminisme anglais dans les années 1790, dans la lignée de ce qu’a fait Chernock (2009). L’effort remarquable engagé par l’EHNE en faveur d’une histoire européenne n’oublie jamais, lorsqu’il s’agit d’interroger la source des féminismes du XIXème siècle, de mentionner la Révolution française ou les quelques noms qui ont fait la pensée émancipatrice hors des frontières de la France. Nous voudrions, dans la lignée et suivant l’exemple de cette approche résolument européenne, nous pencher sur ce qui a constitué l’armature de la pensée en faveur d’une émancipation des femmes à l’aube du XIXème siècle.

Vos propositions d’articles, d’une longueur maximale de 50 000 signes en français et 40 000 en anglais devront nous être adressées avant le 15 septembre 2021 à heuer@history.umass.edu, francoise.orazi@univ-lyon2.fr et anne.verjus@ens-lyon.fr. Idéalement, nous souhaiterions organiser une rencontre entre les autrices et auteurs retenu.es, aux alentours du printemps 2022. En présentiel si possible, en distanciel s’il le faut (ou les deux si c’est préférable). Le numéro paraîtra dans le troisième numéro de l’année 2023. Il sera d’abord publié entièrement en français, mais nous nous réservons la possibilité d’en avoir une version entièrement en anglais en ligne. Vos propositions, acceptées en français et en anglais, seront traduites par nos soins, sous votre contrôle.

Références citées dans le texte

• Binhammer, Katherine. « The Political Novel and the Seduction Plot: Thomas Holcroft’s Anna St. Ives ». Eighteenth-Century Fiction 11.2 (1999): 205–22.

• Bour, Isabelle. « A New Wollstonecraft: The Reception of the Vindication of the Rights of Woman and of The Wrongs of Woman in Revolutionary France ». Journal for Eighteenth-Century Studies 36.4 (2013): 575–87.

• Chernock, Arianne. Men and the Making of Modern British Feminism. Stanford: Stanford University Press, 2009.

• Desan, Suzanne. « Théroigne de Méricourt, Gender, and International Politics in Revolutionary Europe ». Journal of Modern History 92.2 (2020): 274–310.

• Desan, Suzanne. « Constitutional Amazons: Jacobin Women’s Clubs in the French Revolution » in B. T. Ragan Jr. and E. A. Williams (eds.), Re-Creating Authority in Revolutionary France (1992): 11–35.

• Fauré, Christine. « Doléances, déclarations et pétitions, trois formes de la parole publique des femmes sous la Révolution ». Annales historiques de la Révolution française 344 (1 juin 2006): 5–25.

• Godineau, Dominique. Citoyennes tricoteuses : les femmes du peuple à Paris pendant la Révolution française. Aix-en-Provence: Alinéa, 1988.

• Gray, Marion W. « Radical Feminism and a Changing Concept of Marriage : Prussia’s Theodor Gottlieb Von Hippel ». In Donald Horward and John Horgan (eds.), The Consortium on Revolutionary Europe, 1750–1850: Proceedings, 1989 to Commemorate the Bicentennial of the French Revolution, 807–14. Tallahassee: Institute on Napoleon and the French Revolution, Florida State University, 1990.

• Joeres, Ruth Ellen B. « “That girl is an entirely different character!” Yes, but is she a feminist? Observations on Sophia von La Roche’s Geschichte des Fräulein von Sternheim ». In German Women in the Eighteenth and Nineteenth Centuries: A Social and Literary History, par Ruth-Ellen B. Joeres et Mary Jo Maynes, 137–56. Bloomington: Indiana University Press, 1986.

• Lapied, Martine. « Parole publique des femmes et conflictualité pendant la Révolution, dans le Sud-Est de la France ». Annales historiques de la Révolution française 344 (1 juin 2006): 47–62.

• Lumbroso, Nicolas. « Pons de Verdun et l’égalité des droits en faveur des femmes. L’aspiration d’un Conventionnel à une plus grande égalité des sexes ». Annales historiques de la Révolution française, (2021, à paraître).

• Mabo, Solenn. « Femmes engagées dans la chouannerie : motivations, modalités d’actions et processus de reconnaissance (1794–1830) ». Genre & Histoire 19 (25 août 2017).

• McFadden, Margaret. Golden Cables of Sympathy: The Transatlantic Sources of Nineteenth-Century Feminism. Lexington: The University Press of Kentucky, 1999.

• Philp, Mark. Radical Conduct: History of Ideas and Intellectual History. Oxford: Oxford University Press, 2020.

• Talamante, Laura. « Political Divisions, Gender, and Politics: The Case of Revolutionary Marseille ». French History 31.1 (2017): 63–84.

• Verjus, Anne. « La citoyenneté politique au prisme du genre. Droits et représentation des individus entre famille et classe de sexe (XVIIIème–XXIème siècles) ». HDR, Ecole Normale Supérieure de Paris – ENS Paris, 2014.

• Verjus, Anne. « Une Société sans Pères Peut-Elle Être Féministe ? L’empire Des Nairs de James H. Lawrence ». French Historical Studies 42.3 (2019): 359–89.

• Wiśniewska, Dorota. « In the Shadow of a Mild Revolution: Polish Women’s Political Attitudes during the Great Sejm (1788−1792) ». Gender & History 33.1 (2021): 75–93.

The Burlington Magazine, March 2021

Posted in books, catalogues, exhibitions, journal articles, obituaries, reviews by Editor on April 24, 2021

The eighteenth century in The Burlington (I’m catching up, gradually!) . . . CH

The Burlington Magazine 163 (March 2021)

Hubert Robert, Arch of Septimius Severus, 1756; pen with grey and beige washes, 73 × 52 cm (Musée de Valence).

A R T I C L E S

•  Pedro Luengo, “Spatial Rhetoric: Echoes of Madrid’s Alcázar in Palaces Overseas,” pp. 236–43.
Several key features of the Alcazar in Madrid—including the twin-courtyard plan, double staircase, and layout of the royal chapel—were replicated in royal palaces in Spain and elsewhere and in the viceregal palaces in Spain’s American empire as part of a desire to project a unified imperial image.

•  Yuriko Jackall and Kari Rayner, “Becoming Hubert Robert: Some New Suggestions,” pp. 244–53.
The thin documentation of Hubert Robert’s early years makes it difficult to understand how the largely untrained student who went to Rome in 1754 emerged as a leading talent in Paris in the mid 1760s. Close examination of his art suggests that his rapid development was due to a rigorous course of study of perspective and life drawing, probably in response to criticisms of his abilities by the secretary of the Académie Royale, Charles-Nicolas Cochin.

R E V I E W S

• Michael Hall, Review of Matthew Reeve, Gothic Architecture and Sexuality in the Circle of Horace Walpole (Pennsylvania State University Press, 2020), pp. 264–69.

• Antonio Mazzotta, Review of the exhibition Tiepolo: Venezia, Milano, l’Europa (Milan: Gallerie d’Italia, 2020–21), pp. 273–75.

• Christoph Stiegemann, Review of the exhibition Passion, Leidenschaft: Die Kunst der großen Gefühle (Münster: LWL-Museum für Kunst und Kultur, 2020–21), pp. 275–78.

• Stephen Leach, Review of Matthew Craske, Joseph Wright of Derby: Painter of Darkness (Paul Mellon Centre for Studies in British Art, 2020), pp. 297–98.

• Philippe Malgouyres, Review of Suzanne Higgott, ‘The Most Fortunate Man of his Day’: Sir Richard Wallace: Connoisseur, Collector, and Philanthropist (Wallace Collection, 2018), pp. 298–99.

• Elena Almirall Arnal, Review of Carolina Naya Franco, El joyero de la Virgen del Pilar: Historia de una colección de alhajas europeas y americanas (Institución Fernando El Católico, 2019), pp. 302–03.

• Gauvin Alexander Bailey, Review of Laura Windisch, Kunst, Macht, Image: Anna Maria Luisa de’ Medici (1667–1743) im Spiegel ihrer Bildnisse und Herrschaftsräume (Böhlau Verlag, 2019), p. 303.

O B I T U A R I E S

• Peter Cherry, Obituary of Carmen Garrido (1947–2020), pp. 305–06.
Director of the Gabinete de Documentación Técnica at the Prado for thirty years, Carmen Garrido made major contributions to the technical study of Spanish painting, in particular with her publications on Diego Velázquez.

• Ger Luijten, Obituary of David Scrase (1949–2020), pp. 306–08.
In a career spent almost entirely at the Fitzwilliam Museum, Cambridge, David Scrase was responsible for numerous significant acquisitions and exhibitions. His magnum opus his his catalogue for the museum’s Italian drawings, published in 2011.

 

New Collection of Essays | The Classical Vase Transformed

Posted in books, journal articles by Editor on April 18, 2021

From Oxford University Press:

Alexia Petsalis-Diomidis with Edith Hall, eds., The Classical Vase Transformed: Consumption, Reproduction, and Class in Eighteenth- and Nineteenth-Century Britain, special issue of Bulletin of the Institute of Classical Studies 63.1 (June 2020).

The Classical Vase Transformed: Consumption, Reproduction, and Class in Eighteenth- and Nineteenth-Century Britain explores hitherto marginalized working-class and middle-class engagements with ancient Greek vases. Its origins lie in a symposium which took place in May 2016 at King’s College London, Ancient Greek Pots and Class in Britain, 1798–1939. This themed issue of BICS has three principal aims. First, to sharpen our awareness of the range of engagements with classical culture experienced at the lower end of the social spectrum, in the context of a scholarly focus on elites. Second, to help redress the balance within Classical Reception Studies, which is heavily skewed towards receptions of classical literature rather than classical material culture. And third, to increase the prominence of humble ceramics as compared to grand monumental sculpture, which remains the focus of studies on the reception of classical material culture. . . .

While a small but vocal minority of classicists remain unconvinced of the value of Classical Reception Studies, seeing ‘reception’ as an extraneous layer that needs to be ‘peeled off’ in order to access the ancient world ‘directly’, the theoretical basis of Classical Reception Studies continues to be a subject of scholarly debate (4). . . .

The reception of classical sculpture has fared relatively well within the disciplines of Art History, Eighteenth-Century Studies, and even Classical Archaeology. Areas of particular interest are collecting and the Grand Tour, and the nationalist use of sculptural archaeological remains in the nineteenth and twentieth centuries (9). But the reception of Greek vases, including the history of scholarship, collecting, creative responses, and influence on the production of later painting, has only recently started to be explored in depth. This state of affairs gives rise to the third aim of the issue: to put the reception of Greek vases in the spotlight in the context of the dominance of monumental stone sculpture in studies of receptions of classical material culture. . . .

The full introduction (including notes) is available here»

C O N T E N T S

Acknowledgements
Contributors
List of Figures

• Alexia Petsalis-Diomidis, “Introduction,” pp. 8–14.

The Classical Vase Produced and Consumed in New Ceramic Forms
• Edith Hall, “How Much Did Pottery Workers Know about Classical Art and Civilisation?,” pp. 17–33.
• Alexia Petsalis-Diomidis, “Pottery Workers, ‘the Ladies’, and ‘the Middling Class of People’: Production and Marketing of ‘Etruscan and Grecian Vases’ at Wedgwood c.1760–1820,” pp. 34–53.
• Janett Morgan, “A Greek Tragedy? Why ‘Dillwyn’s Etruscan Ware’ Failed,” pp. 54–71.
• Paul Lewis, “Archaeology in the Home: Neoclassical Ceramics for New Audiences in Mid-Nineteenth-Century Britain,” pp. 72–88.

The Classical Vase Constrained in the Museum Cabinet and Transfigured in the Body
• Caspar Meyer, “Ancient Vases in Modern Vitrines: The Sensory Dynamics and Social Implications of Museum Display,” pp. 91–109.
• Helen Slaney, “Pots in Performance: Emma Hamilton’s Attitudes,” pp. 110–22.
• Abigail Baker, Myths of the Odyssey in the British Museum (and beyond): Jane Ellen Harrison’s Museum Talks and Their Audience,” pp. 123–37.

Response
• Katherine Harloe, “Classics Transformed? Ancient Figured Vases as a Test-Case for the Preoccupations of Classical Reception Studies,” pp. 138–42.

Print Quarterly, March 2021

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on March 12, 2021

Marco Carloni, Franciszek Smuglewicz, and Vincenzo Brenna, plate nine from Vestigia delle Terme di Tito e Loro Interne Pitture, 1776–78, hand-coloured etching (London: The British Museum).

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The eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 38.1 (March 2021)

A R T I C L E S

Francesca Guglielmini, “Ludovico Mirri’s Vestigia and Publishing in Eighteenth-Century Rome”, pp. 29–49.

This article is a detailed study of the publishing activities and business model of the erudite antiquarian, art dealer and print publisher Ludovico Mirri (1738–1786). His ambitious project Vestigia delle Terme di Tito e Loro Interne Pitture (The Remains of the Baths of Titus and Their Paintings) is discussed in detail alongside eight previous unpublished images of hand-coloured etchings of grotesque wall decorations taken from antique ruins in Rome and surroundings, now in the British Museum, here proposed as an extension of the original Vestigia. Four appendices contain a compilation of uncoloured and coloured impressions of the Vestigia etchings; a description of the contents of the Vestigia and Giuseppe Carletti’s accompanying booklet; known copies of the Vestigia in public collections; and a list of supplementary plates, including those eight mentioned in the British Museum collection.

David Stoker, “The Marshall Family’s Print Publishing Business”, pp. 50–63.

This article explores the little researched late activities of the Dicey print publishing business which was run by members of the Marshall family into the nineteenth century after Cluer Dicey (1715–1775) retired in 1770. The article discusses various publications produced by each member of the Marshall family, from Dicey’s partner Richard Marshall (d. 1779) to his grandson John II Marshall (b. 1793).

N O T E S  A N D  R E V I E W S

Antony Griffiths, Review of The Lost Library of the King of Portugal (2019), pp. 72–74.

This review sheds light on new research uncovered about the lost library of John V, King of Portugal, specifically archival documents. A significant portion of this review tells the fascinating story of how orders were sent to the Portuguese ambassadors in various European capitals in 1724 for an impression of every available print in those countries. These indeed happened but the various volumes of prints disappeared in the cataclysm of 1755, except for three volumes representing British, French, and Italian prints which were rediscovered in recent decades.

Domenico Pino, “Anton Maria Zanetti II and Limited Editions in Venice, c. 1734,” pp. 74–76.

This note seeks to interpret a handwritten inscription found on the verso of a print by Anton Maria Zanetti the Younger (1706–1778) in the British Museum. The inscription provides important evidence on early exploitation of limited editions in printmaking among the Zanetti clan and their contemporaries.

Antoinette Friedenthal, Review of La vita come opera d’arte: Anton Maria Zanetti e le sue collezioni (2018), pp. 108–14.

This review of an exhibition catalogue exploring Anton Maria Zanetti the Elder (1680–1767) offers an overview of his intellectual and artistic interests. His admiration for Parmigianino is discussed in detail, as well as his own reconstruction of the technique of chiaroscuro woodcuts. The review concludes with a few paragraphs on his forays into publishing.

4th Annual Ricciardi Prize from Master Drawings

Posted in journal articles, opportunities by Editor on March 4, 2021

James Mcbey, Girl Writing A Letter, watercolor and pencil on paper (The Clark Art Institute, MA).

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From Master Drawings:

Fourth Annual Ricciardi Prize from Master Drawings
Submissions due by 15 November 2021

Master Drawings is seeking submissions by scholars under the age of 40 for our Fourth Annual Ricciardi Prize! The winning submission will be awarded $5,000, with a publication date in 2022. This year’s deadline is November 15, 2021. Remember, only essays on drawings topics will be considered. Finalists are also recognized with a prize and publication in the journal. You can read this year’s winning article in the June 2021 issue of Master Drawings. More information on how to apply is available here.

Reading Unopened Letters via X-ray Microtomography

Posted in journal articles by Editor on March 3, 2021

An unopened letter, dated 31 July 1697, from Jacques Sennacques to his cousin Pierre Le Pers, virtually unfolded and read for the first time
(Photograph: Unlocking History Research Group)

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The latest from the Unlocking History Research Group, as published in Nature Communications:

Jana Dambrogio, Amanda Ghassaei, Daniel Starza Smith, Holly Jackson, Martin L. Demaine, Graham Davis, David Mills, Rebekah Ahrendt, Nadine Akkerman, David van der Linden, and Erik D. Demaine, “Unlocking History through Automated Virtual Unfolding of Sealed Documents Imaged by X-ray Microtomography,” Nature Communications 12 (2 March 2021), article number 1184.

Abstract: Computational flattening algorithms have been successfully applied to X-ray microtomography scans of damaged historical documents, but have so far been limited to scrolls, books, and documents with one or two folds. The challenge tackled here is to reconstruct the intricate folds, tucks, and slits of unopened letters secured shut with ‘letterlocking’, a practice—systematized in this paper—which underpinned global communications security for centuries before modern envelopes. We present a fully automatic computational approach for reconstructing and virtually unfolding volumetric scans of a locked letter with complex internal folding, producing legible images of the letter’s contents and crease pattern while preserving letterlocking evidence. We demonstrate our method on four letterpackets from Renaissance Europe, reading the contents of one unopened letter for the first time. Using the results of virtual unfolding, we situate our findings within a novel letterlocking categorization chart based on our study of 250,000 historical letters.

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New outlets—including The Art Newspaper, CNN, and The New York Timeshave taken up the story. Here’s coverage from The Guardian:

In a world first for the study of historic documents, an unopened letter written in 1697 has been read by researchers without breaking the seal. The letter, dated 31 July 1697 and sent from French merchant Jacques Sennacques in Lille to his cousin Pierre Le Pers in The Hague, had been closed using ‘letterlocking‘, a process in which the letter is folded to become its own envelope, in effect locking it to keep it private. It is part of a collection of some 2,600 undelivered letters sent from all over Europe to The Hague between 1689 and 1706, 600 of which have never been opened.

The international team of researchers from universities including MIT, King’s College London, Queen Mary University London, Utrecht and Leiden, worked with X-ray microtomography scans of the letter, which use X-rays to see inside the document, slice by slice, and create a 3D image. They applied computational flattening algorithms to the scans to enable them to virtually unfold the letter without ever opening it, and discovered that Sennacques had been asking his cousin for a certified copy of a death notice of one Daniel Le Pers.

“It has been a few weeks since I wrote to you in order to ask you to have drawn up for me a legalised excerpt of the death of sieur Daniel Le Pers, which took place in The Hague in the month of December 1695, without hearing from you,” runs the letter. “I am writing to you a second time in order to remind you of the pains that I took on your behalf. It is important to me to have this extract & you will do me a great pleasure to procure it for me & to send me at the same time news of your health & of all the family.” . . . [as translated by the research team.]

The full article, by Alison Flood (2 March 2021), is available here»

Metropolitan Museum Journal 2020

Posted in journal articles by Editor on January 6, 2021

The 2020 issue of the Metropolitan Museum Journal is now available at The University of Chicago Press website and The Met Store. PDF’s are available for free on MetPublications. Of particular note for dix-huitièmistes:

Metropolitan Museum Journal 55 (2020)

R E S E A R C H  N O T E S

Carmontelle, Portrait of Jean-Pierre de Bougainville, ca. 1760, watercolor over graphite and black and red chalk, 30 × 19 cm (New York: The Metropolitan Museum of Art, Gift of Mrs. Charles Wrightsman, 2004.475.6).

Margot Bernstein, “Carmontelle’s Telltale Marks and Materials,” pp. 135–44.

Bernstein addresses three portraits heretofore described as autograph works by the French amateur draftsman Louis Carrogis, called Carmontelle (1717–1806). She confirms the attribution of the Portrait of Jean-Pierre de Bougainville but cast doubts on the other two. As she notes in the conclusion, “The discoveries outlined here have enabled the present author to identify additional inauthentic Carmontelle portraits in public and private collections, including the Art Institute of Chicago and the National Gallery of Art, Washington, D.C.24 In fact, the majority of purported autograph replicas of Carmontelle portraits in international collections are not authentic. Most of these problematic works display technical issues that are consistent with those found in the Robert Lehman Collection drawings. . .” (142).

Daniel Wheeldon, “The Met’s German Keyed Guitar,” pp. 145–56.

In providing context, Wheeldon addresses the eighteenth century, too. As he writes in the introduction, “The keyed guitar at The Metropolitan Museum of Art, made in Germany in the mid-nineteenth century [89.4.3145], was part of the collection of musical instruments originally established by Mary Elizabeth Adams Brown in 1889. This guitar has long been worthy of greater attention, despite its being neither the most ornate example of nineteenth-century guitar making nor an object that fits into a clear tradition of guitar playing. The ingenuity of its design has been overshadowed by the instrument’s peculiarity, current state of deterioration, and plainness, and consequently it has entirely avoided academic coverage. As the only such instrument in a public collection, and one that bears two labels inside—’Matteo Sprenger / fece à Carlsruhe1 1843′, and ‘F. Fiala’—the Museum’s keyed guitar is essential to identifying and contextualizing (145) the sparse body of nineteenth-century literature on the topic. This article examines the history of the nineteenth-century keyed guitar using the Metropolitan Museum’s instrument as the basis for understanding the provenance of other instruments and establishing them within an historical narrative” (147).

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Note (added 6 January 2020) — Submissions for next year’s volume are due by 15 September 2021; more information is available from the 2020 issue, immediately after the table of contents.

Print Quarterly, December 2020

Posted in books, journal articles, reviews by Editor on December 12, 2020

Meissen bowl with leopard licking its paw, after engraving with six leopards (see below), part of Hanbury Williams service, ca. 1745, porcelain, diameter 340 mm.

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The eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 38.4 (December 2020)

A R T I C L E S

Malcolm Jones, “Early Modern English Prints in the Joseph Ames Album at the Morgan Library,” pp. 411–31.

This article publishes, for the first time, some of the contents of an album in the Morgan Library and Museum, New York, entitled Emblematical and Satirical Prints in Persons and Professions. Compiled around 1750 by Joseph Ames (1689–1759) and containing 237 miscellaneous European prints. About 125 are catalogued as English; 33 of these are unique or exceedingly rare examples and are discussed in detail throughout the article. The remaining English prints in the album are described in an appendix.

N O T E S  A N D  R EV I E W S

Anonymous artist, Six Leopards, from album with prints of animals published by Joos de Bosscher, 1581–1600, engraving, 125 x 177 mm (Amsterdam, Rijksmuseum).

Maureen Cassidy-Geiger, Review of Raffinesse im Akkord: Meissener Porzellanmalerei und ihre grafischen Vorlagen (2018), pp. 465–69.

This note reviews a two-volume publication about print sources for imagery on eighteenth-century Meissen porcelain. Where possible, the catalogue of 475 entries presents the names of the artists, engravers or publishers of Dutch, French, German, and Italian print sources used.

Tom Young, Review of Douglas Fordham, Aquatint Worlds: Travel, Print, and Empire, 1770–1820 (2019), pp. 470–74.

This note, and the book it reviews, emphasises the close ties the medium of aquatint has with British exploration and imperialism. Using J.R. Abbey’s (1894–1969) collection of aquatint travel books, today held by the Yale Center for British Art, the case studies show how aquatint’s advantages in colour and detail helped to convey antiquarian details with meticulous accuracy, but that it also had a broader impact on developing a community of taste dependent on travel and the recognition of difference.

Introducing Materia: Journal of Technical Art History

Posted in journal articles by Editor on December 9, 2020

From Materia:

Introducing Materia: Journal of Technical Art History

We are pleased to announce the inauguration of an open-source, peer reviewed journal Materia: Journal of Technical Art History. This biannual publication, the first issue of which is set to launch in the spring of 2021, will provide an online, open-access platform devoted to the technical study of art objects. Bringing together the disciplines of conservation, conservation science, art history, and related disciplines, Materia will be among the first peer-reviewed publications dedicated solely to this steadily growing field of interdisciplinary research.

Editorial Team
Bianca Garcia, Balboa Art Conservation Center (San Diego, CA)
Courtney Books, St. Louis Art Museum (St. Louis, MO)
Cynthia Prieur, Queen’s University (Kingston, ON)
Emma Jansson, Stockholm University (Stockholm, Sweden)
Julie Ribits, Eskenazi Museum of Art at Indiana University (Bloomington, IN)
Lucia Bay, Philadelphia Museum of Art (Philadelphia, PA)
Morgan Wylder, Balboa Art Conservation Center (San Diego, CA)
Roxy Sperber, Indianapolis Museum of Art at Newfields (Indianapolis, IN)

Print Quarterly, September 2020

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on November 2, 2020

Johann Jakob Mettenleiter, Double Portrait of Johann Elias Haid and Johann Jakob Mettenleiter, ca. 1778–84, oil on copper, 31 × 38 cm (image courtesy Boris Wilnitsky Fine Arts, Vienna).

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The eighteenth-century in the latest issue of Print Quarterly (with apologies for being so slow! -Craig).

Print Quarterly 37.3 (September 2020)

A R T I C L E S

Julie Mellby, “Audubon’s Copperplates for Birds of America”, pp. 283–93.

After a brief introduction to John James Audubon’s (1785–1851) life and the publication history of his famous Birds of America, this article explores the afterlife of the copperplates. Partly damaged during a fire and later sold as used copper, some of these objects were eventually acquired and restored by William E. Dodge II (1832–1903). Their history interestingly overlaps with the history of important American institutions, such as the Metropolitan Museum of Art and the Princeton University Art Museum.

Marianne A. Yule, “A Friendship Portrait of J. J. Mettenleiter and J. E. Haid”, pp. 294–99.

This piece focuses on a newly discovered painting and its related mezzotint, the only known collaborative work between the printmaker John Elias Haid (1739–1809) and the painter Johann Jakob Mettenleiter (1750–1825). It explores the history of the image and identifies all the prints depicted therein.

N O T E S  A N D  R E V I E W S

Peter Van Der Coelen, Review of Henk van Nierop, The Life of Romeyn de Hooghe 1645–1708: Prints, Pamphlets, and Politics in the Dutch Golden Age (2018), pp. 314–16.

The note, as the book it reviews, sheds light on the lesser known, yet extremely prolific Romeyn de Hooghe (1645–1708), a printmaker operating between the Netherlands and Paris. His prints depict the political events of the day, such as the French invasion of Holland, as well as fashionable pastimes, as exemplified by his illustrations for a treatise on wrestling. De Hooghe’s life and work attest to the rising dominance of France all over Europe in the age of Louis XIV, both politically and artistically.

Domenico Pino, Review of Xavier F. Salomon, Andrea Tomezzoli and Denis Ton, Tiepolo in Milan: The Lost Frescoes of Palazzo Archinto (2019), pp. 319–21.

The catalogue under review reconstructs a cycle of frescoes commissioned for an aristocratic Milanese palace and destroyed during World War II. The note focuses on one chapter in particular, analysing Giambattista Tiepolo’s (1697–1770) early career as a book illustrator in Verona and Milan in the 1720s and ’30s, reading it in the context of the cultural fervour that spread all over Italy following the war of Spanish succession.

Domenico Pino, Review of Canaletto & Venezia (2019), pp. 321–22.

The note offers an overview of eighteenth-century Venice and the cultural fervour it hosted. The exhibition catalogue explores in detail the artistic career of Canaletto (1697–1768), Giambattista Tiepolo (1697–1770) and Giambattista Piazzetta (1682–1754), and discusses the developments of artistic trends in furniture, glass, porcelain and architecture in Venice throughout the century up to the fall of the Republic in 1797.

Elizabeth Rudy, Review of Aude Prigot, La Réception de Rembrandt à traversles estampes en France au XVIIIe siècle (2018), pp. 322–25.

The note explores the impact Rembrandt had on artists from the eighteenth through to the twenty-first century. In particular it focuses on the practice of collecting his prints in eighteenth-century France and that of copying his composition in the later part of the century. The main case studies are five French artists, among them Claude-Henri Watelet (1718–86) and Dominique Vivant-Denon (1747–1825).