Enfilade

The long 18th century in the March issue of The Burlington:

The Burlington Magazine 167 (March 2025)

Cover of The Burlington Magazine with a recent acquisition at The Met: Longcase equation regulator, clockmaker: Ferdinand Berthoud, case maker: Balthazar Lieutaud, ca. 1752 (New York: The Metropolitan Museum of Art, 2016.28a–e).

e d i t o r i a l

• “A Frick Renaissance,” p. 203–05.
On 17th April 2025 the Frick Collection on Fifth Avenue re-opens after a long period of redevelopment. When an old friend has a face lift, the results can be disconcerting. Happily, the impact here is, however, reassuringly subtle—as the splendid Gilded-age character of one of New York’s iconic cultural institutions has been retained, while elegant new facilities have been deftly integrated.

a r t i c l e s

• Julia Seimon, “Two Boys with a Bladder in the J. Paul Getty Museum and Joseph Wright of Derby’s Early Candlelights,” pp. 242–57.
A careful re-assessment of Joseph Wright of Derby’s painting of Two Boys with a Bladder in the Getty’s collection, supported by documentary discoveries, clarifies the circumstances of the painting’s creation and first exhibition and has significant implications for dating several of the artist’s other painted and drawn works.

s h o r t e r  n o t i c e s

• Oliver Fairclough, “Paul Sandby and Sir Watkin Williams-Wynn Revisited,” pp. 258–61.

• Christina Milton O’Connell, “Observations about the Abandoned Portrait beneath Gainsborough’s Blue Boy,” pp. 26–65.

r e v i e w s

Cover of Être sculpteur à Florence au temps des derniers Médicis, featuring a photograph of Giovanni Battista Foggini’s Adoration of the Shepherds, ca. 1675, marble (Saint Petersburg: Hermitage).

• Nicola Ciarlo, Review of Kira d’Alburquerque, Être sculpteur à Florence au temps des derniers Médicis (CTHS, 2023), pp. 292–94.

• Adam Bowett, Review of Stephen Jackson, Scottish Furniture 1500–1914 (NMS Publishing, 2024), pp. 296–98.

• Penelope Curtis, Review of the exhibition catalogue Souvenirs de jeunesse: Entrer aux Beaux-Arts de Paris 1780–1980, edited by Alice Thomine-Berrada (Beaux-Arts de Paris, 2024), pp. 298–99.

• Alan Powers, Review of Edward McParland, The Language of Architectural Classicism: From Looking to Seeing (Lund Humphries Publishers, 2025), pp. 299–300.

• Max Marmor, Review of Julius von Schlosser, The Literature of Art: A Manual for Source Work in the History of Early Modern European Art Theory, translated by Karl Johns (Ariadne Press, 2023), p. 303.

s u p p l e m e n t

• Sarah Lawrence, “Recent Acquisitions (2014–24) of European Decorative Arts at The Metropolitan Museum of Art,” pp. 305–24.

Thomas Daniell, The Old Court House and Writers’ Building, 1786, hand-coloured etching, 403 × 524 mm
(Philadelphia Museum of Art; image Thomas Primeau).

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The long eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 42.1 (March 2025)

a r t i c l e s

• Jalen Chang, “‘Bengalee Work’ before Aquatint: Thomas Daniell’s Views of Calcutta”, pp. 20–30.
This article reevaluates eleven hand-coloured etchings by Thomas Daniell (1749–1840) held by the Philadelphia Museum of Art, previously presumed to be published states of his 1786–88 print series Views of Calcutta, often cited as the earliest aquatints made outside of Europe. Devoid of the rudimentary aquatinting and hand-coloured skies which characterize other extant examples, the relatively bare objects document a distinct stage of Daniell’s artistic process and are unprecedented in their survival. The article suggests that these prints were trial proofs never intended for publication or sale, meant instead to serve as colour tests for Daniell and his team of Indian copyists. Furthermore, the article considers early imperial printmaking and its ideological functions in British India.

Charlotte Bonaparte, Self-Portrait, ca. 1824–26, oil on canvas, 885 × 730 mm (Princeton University Art Museum).

• Thomas Busciglio-Ritter, “From Brussels to Point Breeze: Charlotte Bonaparte’s Lithographic Landscapes, 1821–25”, pp. 31–43.
This article discusses a series of twelve lithographs by Charlotte Bonaparte (1802–1839), niece to Napoleon I, of North American views known as the Vues pittoresques de l’Amérique dessinées par la Comtesse Charlotte de Survillier (printed 1824), which she completed and disseminated on her return to Europe. The series, published in Brussels, became the first lithographic scenic views of the United States to circulate among western European audiences. The article situates Bonaparte’s landscape views within the context of transatlantic print culture of the early nineteenth century, touching on the role of women as producers of landscape images and the introduction of lithography as a new medium for American audiences.

n o t e s  a n d  r e v i e w s

• Bernard Aikema, Review of the exhibition catalogue Connecting Worlds: Artists and Travel, ed. by Anita Viola Sganzerla and Stephanie Buck (Paul Holberton Publishing, 2023), pp. 64–66.

• Catherine Jenkins, Review of the exhibition catalogue Trésors en noir et blanc. Estampes du Petit Palais, de Dürer à Toulouse-Lautrec, by Anne-Charlotte Cathelineau, Joëlle Raineau-Lehuédé, and Clara Roca (Paris Musées, 2023), pp. 74–76.

• Ellis Tinios, Review of Hokusai’s Fuji, ed. by Kyoko Wada (Thames and Hudson, 2023), pp. 76–77.

• Victoria Sancho Lobis, Review of Aaron Hyman, Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021), pp. 99–105.

Claude-Joseph Vernet, Shipwreck on a Rocky Coast, 1775, oil on canvas, 74 × 108 cm (Private Collection). The work and its pendant, Harbour Scene at Sunset, are identified by Yuriko Jackall as paintings acquired directly from the artist by François-Marie Ménage de Pressigny, who likely commissioned The Swing by Fragonard. In contrast to the latter, which in 1794 was valued at 400 livres, the two paintings by Vernet were valued at 4,000 livres—the most valuable paintings owned by Ménage de Pressigny.

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The long 18th century in the February issue of The Burlington:

The Burlington Magazine 167 (February 2025)

e d i t o r i a l

• “Cataloguing,” p. 79.
It is one of the basic responsibilities of major collections to research and publish the works of art in their care. Such projects can take many years to mature and are often abandoned because of a lack of funding or shifting institutional priorities. It might be imagined, therefore, that because of these threats and the formidable cost of producing specialist and richly illustrated books, that collection catalogues would have become an extinct species. However, happily, a close reading of this Magazine in recent months would suggest otherwise, across a wide range of media and in terms of a broad chronological span . . .

a r t i c l e s

• Lucy Wood and Timothy Stevens, “The Elder Sisters of The Campbell Sisters: William Gordon Cumming’s Patronage of Lorenzo Bartolini,” pp. 126–53.

s h o r t e r  n o t i c e s

• Yuriko Jackall, “Ménage de Pressigny and His Art Collection,” pp. 157–61.

• Dyfri Williams, “Lusieri’s Mysterious Wooded Lake Identified,” pp. 161–63.

r e v i e w s

• Marjorie Trusted, Review of the exhibition Luisa Roldán: Escultora Real (Museo Nacional de Escultura, Valladolid, 2024–25), pp. 164–66.

• Karin Hellwig, Review of the exhibition Hand in Hand: Sculpture and Colour in the Spanish Golden Age (Prado, 2024–25), pp. 166–69.

• William Whyte, Review of Simon Bradley, Nikolaus Pevsner and Jennifer Sherwood, Oxfordshire: Oxford and the South-East, The Buildings of England (Yale UP, 2023), pp. 188–89.

• Elizabeth Savage, Review of Esther Chadwick, The Radical Print: Art and Politics in Late Eighteenth-Century Britain (Paul Mellon Centre for Studies in British Art, 2024), pp. 194–96.

In the latest issue of Master Drawings:

Master Drawings 62.4 (Winter 2024)

a r t i c l e s

• Perrin Stein, “The Crown, the City, and the Public: Saint-Aubin’s Images of Paris.”
• Kim de Beaumont, “A Curious Swan Song for Gabriel de Saint-Aubin: The Comte d’Estaing’s New World Naval Exploits.”
• Margaret Morgan Grasselli, “A Drawing by Hubert Robert and Jean Robert Ango: Correcting a Technical Description.”
• Sarah Catala, “Signed ‘Roberti’: Drawings by Hubert Robert and Jean Robert Ango.”
• Kee Il Choi Jr., “Learning to Draw: The Éducation visuelle of Alois Ko and Étienne Yang.”

r e v i e w s

• Aaron Wile, Review of the exhibition catalogue Claude Gillot: Satire in the Age of Reason, by Jennifer Tonkovich.
• Eduoard Kopp, Review of the exhibition catalogue, Promenades on Paper: Eighteenth-Century French Drawings from the Bibliothèque Nationale de France, edited by Esther Bell, Sarah Grandin, Corinne Le Bitouzé, and Anne Leonard.
• Ashley E. Dunn, Review of the exhibition catalogue Impressionists on Paper: Degas to Toulouse-Lautrec, by Ann Dumas, Leïla Jarbouai, Christopher Lloyd, and Harriet Stratis.

o b i t u a r y

• Perrin Stein, Obituary for Alaster Laing.