Print Quarterly, December 2024
The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 41.4 (December 2024)
a r t i c l e s
Nicholas de Courteille, presumably after Jean Pierre Bouch, Jean Charles Pierre Lenoir, 1779, soft-ground etching, 308 × 235 mm (Paris, Musée Carnavalet, Histoire de Paris).
• Dorinda Evans, “Jean Pierre Bouch, A Rediscovered Polymath”, pp. 394–407. This article attempts to compile the real identity and life story of the French artist Jean Pierre Bouch (1765–1820), whose diverse career included being a balloonist and pyrotechnician as well as portrait artist.
n o t e s a n d r e v i e w s
• Christian Rümelin, Review of Jean-Gérald Castex, ed., Graver pour le Roi: Collections Historiques de la Chalcographie du Louvre (Louvre éditions and Lienart éditions, 2019), pp. 434–37.
• Evonne Levy, Review of Bettina Wassenhoven, Gravuren nach Skulpturen – Skulpturen nach Gravuren (Konigshausen & Neumann, 2021), pp. 437–38.
• Simon McKeown, Review of Rosa de Marco and Agnès Guiderdoni, eds., Eliciting Wonder: The Emblem on the Stage (Librairie Droz, 2022), pp. 438–41.
• Clarissa von Spee, Review of Anne Farrer and Kevin McLoughlin, eds., The Handbook of the Colour Print in China, 1600–1800 (Brill, 2022), pp. 441–45.
• Nicholas JS Knowles, “The First British Caricature in Aquatint?,” pp. 445–47.
• Bénédicte Maronnie, Reviews of Chiara Casarin and Pierluigi Panza, eds., Giambattista Piranesi: Architetto senza tempo / An Architect out of Time (Silvana Editoriale, 2020); Moritz Wullen and Georg Schelbert, eds., Das Piranesi-Prinzip (E.A. Seeman Verlag, 2020); and Carolyn Yerkes and Heather Hyde Minor, Piranesi Unbound (Princeton University Press, 2020), pp. 469–73.
b o o k s r e c e i v e d
• Jennifer Milam and Nicola Parsons, eds., Making Ideas Visible in the Eighteenth Century (University of Delaware Press, 2021), p. 460.
• Ian Haywood, Queen Caroline and the Power of Caricature in Georgian England (Palgrave Macmillan, 2023), p. 460.
The Burlington Magazine, November 2024
The long 18th century in the November issue of The Burlington:
The Burlington Magazine 166 (November 2024)
e d i t o r i a l
“The Life Cycle of Art History,” p. 1099.
Art history is withering. Art history is flourishing. Which of these statements is true? Very mixed impressions can be gathered from across the United Kingdom, where the future health and reach of the academic discipline is far from clear. Amid all this uncertainty, however, there are some inspiring developments that should be applauded.
a r t i c l e s
• Maichol Clemente, “‘Une pièce fort singulière’: The Rediscovery of Gian Lorenzo Bernini’s Andromeda and the Sea Monster,” pp. 1100–22.
An important early sculpture by Gian Lorenzo Bernini, Andromeda and the Sea Monster, is here attributed to him and published for the first time. It displays all the finesse and invention that characterises the work of his youth and is also notable for having been offered to Jean-Baptiste Colbert, First Minister of Louis XIV, before forming part of the collection of the Prince of Soubise [in the eighteenth century.]
r e v i e w s
• William Barcham, Review of the exhibition catalogue, Les Tiepolo: Invention et Virtuosité à Venise, edited by Hélène Gasnault with Giulia Longo and a contribution by Catherine Loisel (Beaux-Arts de Paris, 2024), pp. 1176–78.
• Erin Griffey, Review of the exhibition catalogue, Style & Society: Dressing the Georgians, by Anna Reynolds (Royal Collection Trust, 2023), pp. 1178–80.
• Philippa Glanville, Review of the catalogue of the Louvre’s silverware, Orfèvrerie de la Renaissance et des temps modernes: XVIe, XVIIe et XVIIIe siècles: La Collection du Musée du Louvre, by Michèle Bimbenet-Privat, Florian Doux, and Catherine Gougeon, with Philippe Palasi, 3 volumes (Éditions Faton, 2022), pp. 1186–87.
• Giulio Dalvit, Review of the catalogue, Galleria Borghese: Catalogo Generale I: Scultura Moderna, edited by Anna Coliva with Vittoria Brunetti (Officina Libraria, 2022), pp. 1192–93.
• Gauvin Alexander Bailey, Collective Creativity and Artistic Agency in Colonial Latin America, edited by Maya Stanfield-Mazzi and Margarita Vargas-Betancourt (University of Florida Press, 2023), pp. 1193–94.
• Charles Avery, Review of Die Bronzen des Massimiliano Soldani Benzi (1656–1740): Representationsstrategien des europäischen Adels um 1700, by Carina Weißmann (De Gruyter, 2022), p. 1195.
• Pierre Rosenberg, Review of the catalogue, French Paintings 1500–1900: National Galleries of Scotland, by Michael Clarke and Frances Fowle, 2 volumes (National Galleries of Scotland, 2023), pp. 1196–97.
Netherlands Yearbook for History of Art | Women, 1500–1950
The latest issue of NKJ:
Elizabeth Alice Honig, Judith Noorman, and Thijs Weststeijn, eds., Women: Female Roles in Art and Society of the Netherlands, 1500–1950, Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 74 (2024), ISBN: 978-9004710740, $162.
Long overdue in the history of the Netherlands Yearbook for History of Art, this volume foregrounds women as creators, patrons, buyers, and agents of change in the arts of the Low Countries. Venturing beyond the participation of ‘exceptional’ individuals, chapters investigate how women produced paintings, sculptures, scientific illustrations, and tapestries as well as their role in architectural patronage and personalized art collections. Teasing out a variety of socio-economic, legal, institutional, and art-theoretical dimensions of female agency, the volume highlights the role of visual culture in women’s lived experience and self-representation, asking to what extent women challenged, subverted, or confirmed societal norms in the Netherlands.
Elizabeth Alice Honig is Professor of Northern European Art at the University of Maryland, and Professor Emerita at the University of California, Berkeley. She works on Dutch, Flemish, and British art.
Judith Noorman is Associate Professor in Early Modern Art History at the University of Amsterdam. From 2021 to 2026, she is Principal Investigator of The Female Impact, a research project funded by the Dutch Research Council (NWO).
Thijs Weststeijn is Professor of Art History before 1800 at Utrecht University, where he chairs the research project The Dutch Global Age (2023–2028).
c o n t e n t s
• Introduction
• Dynamic Partnership: The Work of Married Women in Dutch Seventeenth-Century Artists’ Households — Marleen Puyenbroek
• The Sculptor and the Sculptress: Gendering Sculpture Production in the Early Modern Low Countries —Elizabeth Rice Mattison
• The Images and the Interventions of Adriana Perez in the Rockox Collection — Kendra Grimmett
• Household Heroines: Maria van Nesse’s Memory-Book and the Interplay between the Art Market and Household Consumption — Judith Noorman
• Weaving a Business: Clara de Hont’s (1664–1751) Tapestry Workshop in Amsterdam — Rudy Jos Beerens
• Situational Awareness and Practices of Exchange in the Art of Johanna Helena Herolt and Alida Withoos — Catherine Powell-Warren
• Cultivating a Female Presence in the Early Eighteenth-Century Learned Community: The Printed Portraits of Maria de Wilde (1682–1729) — Lieke van Deinsen
• Unmarried, Married, Widowed, and Dead: Female Patrons of Architecture in Amsterdam (1680–1800) —Pieter Vlaardingerbroek
• Caretaker of a Collection: The Case of Jo van Bilderbeek-Lamaison — Bert-Jaap Koops
• We Could Hardly Refuse Them: Alida Pott and the Women of De Ploeg, 1918–1931 — Anneke de Vries
The Burlington Magazine, October 2024
The long 18th century in the October issue of The Burlington:
The Burlington Magazine 166 (October 2024)
e d i t o r i a l
• “Restoring the ‘belle époque’,” pp. 995–96.
The Musee Jacquemart-André is a treasure house that graces the Haussmann boulevards in Paris and is perhaps not nearly as well-known as it should be. The recent re-opening of the museum on 6th September, following a period of closure for conservation, therefore provides a welcome opportunity to draw fresh attention to this most romantic and beguiling of collections and the elegant building that houses it.
a r t i c l e s
• Jacob Willer, “Annibale Carracci and the Forgotten Magdalene,” pp. 1028–35.
A painting the collection of the National Trust at Kedleston Hall, Derbyshire, is published here as a work of Annibale Carracci’s maturity. Related to comparable compositions which derive from it, in collections in Rome and Cambridge, it was acquired in Florence in 1758 for the 1st Baron Scarsdale.
• Samantha Happé, “Portable Diplomacy: Louis XIV’s ‘boîtes à portrait’,” pp. 1036–43.
Louix XIV’s ambitious and carefully orchestrated diplomatic programme included gifts of jewelled miniature portraits known as ‘boîtes à portrait’. Using the ‘Présents du Roi’, the circumstances around the commissioning and creation of these precious objects can be explored and a possible recipient suggested for a well-preserved example now in the Musée du Louvre, Paris.
r e v i e w s
• Alexander Collins, Review of the exhibition André Charles Boulle (Musée Condé, Château de Chantilly, 2024), pp. 1056–59.
• Claudia Tobin, Review of the exhibition The Shape of Things: Still Life in Britain (Pallant House Gallery, 2024), pp. 1067–69.
Helen Hillyard, Review of of the recently renovated galleries of the Barber Institute of Fine Arts, Birmingham, pp. 1077–79.
• Colin Thom, Review of Steven Brindle, Architecture in Britain and Ireland, 1530–1830 (Paul Mellon Centre, 2024), pp. 1080–81.
• Christopher Baker, Review of Bruce Boucher, John Soane’s Cabinet of Curiosities: Reflections on an Architect and His Collection (Yale University Press, 2024), pp. 1087–88.
o b i t u a r y
• Christopher Rowell, Obituary for Alastair David Laing (1944–2024), pp. 1094–96.
Although renowned in particular for his expertise on the art of François Boucher, Alastair Laing had very wide-ranging art historical taste and knowledge, which he shared with great generosity of spirit. He curated some important exhibitions and brought scholarly rigour to his inspired custodianship of the art collections of the National Trust.
J18 | Provocations from HECAA@30
A selection of J18 Notes & Queries essays responding to the 2023 conference:
Elizabeth Saari Browne and Dana Leibsohn, eds., “Provocations from HECAA@30,” Journal18 (October 2024).
Responses
• Jennifer Van Horn — Absence and Abundance: Thinking Ahead from HECAA@30
• Karen Lipsedge — The Power of Storytelling and Story-Listening: Reflections on HECAA@30
• Emily C. Casey and Matthew Gin — Everything in Between: Reflections on HECAA@30
• Deepthi Murali —The Ethics of Study and Display of Ivory Objects
• Dawn Odell — Who (or What) Speaks in a Global History of Art?
• Kathryn Desplanque —Material Art History and Black Feminist Pedagogies
From the introduction by Elizabeth Saari Browne and Dana Leibsohn:
In October 1725, a Jiwere (Otoe) leader named Aguiguida found himself at Versailles watching the fountains play. Invited by French men eager to secure allies amongst those who lived on the Central Plains of North America, this visit had been designed to impress. Along with a tour of Parisian sites and a meeting with the king, Aguiguida and his fellow travelers received gifts aplenty: dress coats with silver ornaments, plumed hats, royal medallions; also rifles and swords, and a painting depicting their audience with the monarch. The visitors had meant to offer their own gifts, but most of these were lost in a shipwreck off the coast of America.[1] Today, no material creations from their trip exist, neither those meant for Louis XV nor those offered the delegates.
By the 1720s, people had been traveling from the Americas to European courts for centuries. Itineraries varied, but when Aguiguida met Louis, it was as much trope as history. So why does this story still surprise? Indeed, who does it still surprise? These kinds of questions surfaced at the recent 30th-anniversary convening of HECAA (Historians of Eighteenth-Century Art and Architecture) in October 2023, Environments, Materials, and Futures. This particular eighteenth-century narrative circles around colonial and imperial histories and how creations of earthen and animal materials, of voyages across (and art lost to) land and sea, and of material cultures of global exchange and of war are implicated in such enterprises. But Aguiguida’s trans-Atlantic voyage and visit also pose other questions for historians of art and architecture: about archival absences, affective relationships, and presumed and real (im)balances of power embedded in materials, in pedagogical relationships, and in the Academy. It is these themes the following essays address. . .
Elizabeth Saari Browne is Assistant Professor of Art History and Women’s Studies at the University of Georgia in Athens.
Dana Leibsohn is the Alice Pratt Brown Professor of Art at Smith College in Northampton, Massachusetts.
The full introduction and all essays are available here»
Print Quarterly, September 2024
The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 41.3 (September 2024)
a r t i c l e s
Anonymous artist, A Bavarian Man and A Bavarian Woman, ca. 1759, watercolour, 269 × 190 mm (Welbeck, Nottinghamshire: Welbeck Abbey).
• Derek Adlam and Maureen Cassidy-Geiger, “The Duke of Portland’s Album of Masquerade Costumes Worn in Warsaw in 1759”, pp. 268–84.
This article examines an album of watercolours in the library of the Dukes of Portland at Welbeck Abbey near Worksop, Nottinghamshire, depicting costumed figures and the print sources that inspired them. Seemingly related to the Polish masked balls and banquets mounted in Warsaw on 26 and 27 February 1759 by Jerzy August Mniszech (1715–78), King August III, the album is closely related to imagery seen in Abraham a Sancta Clara’s Neu-eröffnete Welt-Galleria (Nuremberg, 1703), among others, listed in an Appendix at the end of the article. Its commission and creator remain unknown.
n o t e s a n d r e v i e w s
• Daniel Godfrey, Review of Anna Marie Roos, Martin Lister and his Remarkable Daughters: The Art of Science in the Seventeenth Century (Bodleian Library, 2019), pp. 313–16.
• Antoinette Friedenthal, Review of Erminia Gentile Ortona, Le Lettere di Pierre-Jean Mariette ‘Eccellente nella Intelligenza delle Tre Arti’ a Giovanni Gaetano Bottari. Il Codice 1606 (32-E-27) della Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana (Bardi Edizioni and Accademia Nazionale dei Lincei, 2022), pp. 316–19.
Letitia Byrne, Title-Page to the series ‘Animals’, 1795, etching, 145 × 181 mm (London: British Museum).
• Andaleeb Badiee Banta, Review of Artemis Alexiou and Rose Roberto, eds., Women in Print 1: Design and Identities (Peter Lang, 2022) and Caroline Archer-Parré, Christine Moog and John Hinks, eds., Women in Print 2: Production, Distribution and Consumption (Peter Lang, 2022), pp. 319–20.
• Antony Griffiths, Review of Nigel Tattersfield, Dealing in Deceit: Edwin Pearson of the ‘Bewick Repository Bookshop’, 1838–1901 (The Bewick Society, 2020), pp. 320–21.
• Suzanne Boorsch, Review of Arianna Quaglio, Linda Schädler and Patrizia Keller, eds., From Albrecht Dürer to Andy Warhol: Masterpieces from the Graphische Sammlung ETH Zürich (MASI Lugano and Graphische Sammlung ETH Zürich, 2023) and Elizabeth Nogrady and Alyx Raz, eds., Making & Meaning: The Frances Lehman Loeb Art Center / Vassar College (Hirmer, 2023), pp. 327–30.
• Rena Hoisington, Review of Edouard Kopp, Elizabeth Rudy and Kristel Smentek, eds., Dare to Know: Prints and Drawings in the Age of the Enlightenment (Harvard Art Museums, 2022), pp. 346–50.
• Tim Clayton, Review of Allison Stagg, Prints of a New Kind: Political Caricature in the United States, 1789–1828 (Pennsylvania State University Press, 2023), pp. 351–54; recipient of Ewell L. Newman Book Award from the American Historical Print Collectors Society.
b o o k s r e c e i v e d
• Clarissa von Spee and Yiwen Liu, eds., China’s Southern Paradise: Treasures from the Lower Yangzi Delta (Cleveland Museum of Art, 2024), pp, 340–41.
• Iris Brahms, ed., Marginale Zeichentechniken: Pause, Abklatsch, Cut&Paste als ästhetische Strategien in der Vormoderne (De Gruyter, 2022), p. 341. The book explores ‘marginal drawing practices’ through a collection of essays focusing on works on paper from the sixteenth to eighteenth centuries.
Call for Papers | The Myth of French Taste
The Myth of French Taste
A Special Issue of H-France Salon edited by Oliver Wunsch
Proposals due by 15 October 2024
The French have taste in all they do
Which we are quite without;
For Nature which to them gave goût
To us gave only gout.
–Thomas Erskine (1750–1823)
The concept of goût français first became a subject of sustained critical inquiry during the eighteenth century, integrating the discourse of aesthetic experience with new forms of national identity. Enlightenment theories of the nation as something both perfectable and corruptible gave rise to the idea of French taste as something requiring both cultivation and protection. Usage of the term le goût français grew gradually through the early twentieth century, peaking during the interwar period before dropping precipitously. Few scholars today would speak of ‘French taste’ as a coherent entity, and the national chauvinism implicit within the term make it an awkward fit for an era of research that emphasizes cultural relativism and global interconnection.
But even if we believe that ‘French taste’ represents an outdated and jingoistic myth, we still need to contend with its historical impact. How did the mythology of French taste shape cultural experience in the greater Francosphere between the eighteenth and twentieth centuries? How was French taste defined, whom did it exclude, and what purpose did it serve? And can scholars today characterize French cultural tendencies without reinforcing an essentializing understanding of national character? This special issue of H-France Salon welcomes essays that approach these questions from a range of disciplinary perspectives, including cultural history, literary studies, sociology, art history, and the history of collecting. Contributions could analyze specific works of art or literature that shaped concepts of French taste, or they might examine the theorization of French taste in the writing of a particular philosopher or cultural critic. Essays might also consider how scholarly specialization in French culture and the existence of professional organizations such as H-France serve to reinforce or challenge historical conceptions of French taste.
Interested contributors should email an abstract (max. 500 words) to Oliver Wunsch (wunscho@bc.edu) by 15 October 2024.
Oliver Wunsch
Art, Art History, and Film Department | Boston College
Call for Articles | Sequitur (Fall 2024): Beyond the Veil
From:
Sequitur 11.1 (Fall 2024): Beyond the Veil
Submissions and proposals due by 27 September 2024, for January 2025 publication
Arnold Böcklin, Island of the Dead, 1880, oil on wood, 29 × 48 inches (New York: The Metropolitan Museum of Art, 26.90).
The editors of SEQUITUR, the graduate student journal published by the Department of History of Art & Architecture at Boston University, invite current and recent MA, MFA, and PhD students to submit content on the theme of Beyond the Veil for our Fall 2024 issue. This issue invites an exploration of the unseen, the unknown, and the realms that lie out of reach of ordinary or earthly perception. What other worlds exist beyond death, within our minds, under the surface, or in the shadows?
Artists have used every medium at their disposal to imagine what these other worlds might look like, going so far as to employ symbolism, abstraction, and surrealism to grapple with the otherworldly. Ritualistic items, religious artifacts, and funerary objects serve as tangible links to the spiritual and the supernatural. On a larger scale, architectural elements like arches, portals, and windows invite us into holy spaces to seek sanctuary or guide transitions from life to death and back again. In this issue, we aim to gather scholarship that focuses on topics beyond the ordinary that consider the myriad ways in which humanity has envisioned and sought access to the mystical, the transcendent, and the liminal.
Possible subjects may include, but are not limited to:
• Otherworlds: the in-between, separation, the unearthly, seen and unseen, obfuscated, hidden, neither here nor there, out of time, secret spaces
• Transience: the beyond, travel, thresholds, liminal spaces, parallels, interstices, passages, portals, doorways, interfaces, windows, brinks
• Death & resurrection: mourning, memory, farewell, remembrance, burial, necropolis, underworld, afterlife, psychopomp, crossing, sanctuary, heaven, ascension, ceremony, rite, rite of passage, religion, holy, sacrament, celebration, life
• The supernatural: spiritualism, phantasmagoria, spectral, ethereal, occult, fantasy, superstition, internment, surreal
SEQUITUR welcomes submissions from graduate students in the disciplines of art history, architecture, archaeology, fine arts, material culture, visual culture, literary studies, queer and gender studies, disability studies, memory studies, and environmental studies, among others. We encourage submissions that take advantage of the digital format of the journal.
Founded in 2014, SEQUITUR is an online biannual scholarly journal dedicated to addressing events, issues, and ideas in art and architectural history. Edited by graduate students at Boston University, the journal engages with and expands current conversations in the field by promoting the perspectives of graduate students from around the world. It seeks to contribute to existing scholarship by focusing on valuable but often overlooked parts of art and architectural history. Previous issues can be found here.
We invite full submissions in the following categories:
Feature essays (1,500 words)
Content should present original material that falls within the stipulated word limit (1,500 words). Please adhere to the formatting guidelines available here.
Visual and creative essays (250 words, up to 10 works)
We invite MArch and MFA students to showcase a selection of original work in or reproduced in a digital format. We welcome various kinds of creative projects that take advantage of the online format of the journal, such as works that include sound or video. Submissions should consist of a 250-word artist statement and up to 10 works in JPEG, HTML, or MP4 format. All image submissions must be numbered and captioned and should be of good quality and high resolution.
We invite proposals for the following categories (abstracts should be no more than 200 words):
Exhibition reviews (500 words)
We are especially interested in exhibitions currently on display or very recently closed. We typically prioritize reviews of exhibitions in the Massachusetts and New England area.
Book or exhibition catalog reviews (500 words)
We are especially interested in reviews of recently published books and catalogs (1–3 years old).
Interviews (750 words)
Please include documentation of the interviewee’s affirmation that they will participate in an interview with you. Plan to provide either a full written transcript or a recording of the interview (video or audio).
Research spotlights (750 words)
Short summaries of ongoing research written in a more casual format than a feature essay or formal paper. For research spotlights, we typically, but not universally, prioritize doctoral candidates who plan to use this platform to share ongoing dissertation research or work of a comparable scale.
To submit, please send the following materials to sequitur@bu.edu by 27 September 2024:
• Your proposal or submission
• Recent CV
• Brief (50-word) bio
• Your contact information in the body of the email: name, institution and program, year in program, and email
• Subject line: ‘SEQUITUR Fall 2024’ and the type of submission/proposal
Please adhere to the formatting guidelines available here. Text must be in the form of a Word document, and images should be sent as .jpeg files. While we welcome as many images as possible, at least one must be very high resolution and large format. All other creative media should be sent as weblinks, HTML, or MP4 files if submitting video or other multimedia work. Please note that authors are responsible for obtaining all image copyright releases before publication. Authors will be notified of the acceptance of their submission or proposal the week of 7 October 2024 for publication in January 2025. Please contact the editors (sequitur@bu.edu) with any questions.
The Burlington Magazine, August 2024
The long 18th century in the August issue of The Burlington—and special thanks to The Burlington for making Rosalind Savill’s article available to Enfilade readers for free.
The Burlington Magazine 166 (August 2024) — Decorative Arts
a r t i c l e s
Unidentified artist, Portrait of Paul Crespin, ca.1726, oil on canvas laid on board, 114 × 90 cm (London: Victoria and Albert Museum).
• Lucy Wood and Olivia Fryman, “The 1st Duke of Devonshire’s ‘Queen Mary’ Beds at Devonshire House, Chatsworth, and Hardwick Hall,” pp. 780–809.
In 1696 the 1st Duke of Devonshire purchased two beds that had belonged to Mary II, one of which was made by Louis XIV’s upholsterer, Simon Delobel. Documents and fragments of its crimson velvet embroidered hangings record a lost example of Stuart state furniture of the highest quality.
• Stefano Rinadli, “Six Horses for the King of Poland: Making and Staging a Diplomatic Gift at the Court of Louis XIV,” pp. 810–25.
In July 1715 Augustus the Strong of Saxony-Poland received a splendid present from the Sun King: a team of six Spanish stallions, each equipped with embroidered trappings and a pair of elaborate flintlock holster pistols. Documents published here for the first time help establish the gift’s political context and chronology and provide detailed insight into the payment and the identity of all the craftsmen involved.
• Teresa Leonor M. Vale, “Eighteenth-Century English Silver for King João V of Portugal,” pp. 826–33.
João V of Portugal acquired works of art from Rome and Paris; analysis of diplomatic correspondence illustrates how he also commissioned objects from Britain in the 1720s, notably spectacular examples of silverware. These included and exceptionally large and renowned silver-gilt bath by Paul Crespin, the Huguenot silversmith who lived and worked in Soho, London.
Detail of the bottom tray of worktable mounted with two trays, attributed to Bernard II van Risenburgh, ca.1761–63. Table: wood, green varnish and gilt-bronze mounts, 68.6 × 36.8 × 30.5 cm; trays: Sèvres soft-paste porcelain, green ground, enamel colours and gilding, 32 × 26 cm (New York: Metropolitan Museum of Art, 58.75.45).
• Rosalind Savill, “From Storeroom to Stardom: The Revelations of Two Sèvres Porcelain Trays,” pp. 834–47.
Two porcelain trays set into a Rococo table in the early 1760s, now in the Metropolitan Museum of Art, New York, are reassessed and here confirmed as Sèvres. Their subjects are probably the family of the Marquis de Courteille, Louis XV’s representative at the porcelain factory, and their intimate representation in this manner is almost unique in eighteenth-century Sèvres.
The full article is available for free here»
r e v i e w s
• Elizabeth Savage, Review of two exhibition catalogues: Edina Adam and Julian Brooks, with an essay by Matthew Hargraves, William Blake: Visionary (J. Paul Getty Museum, 2020); and David Bindman and Esther Chadwick, eds., William Blake’s Universe (Philip Wilson Publishers, 2024), pp. 862–65.
• John Pinto, Review of the exhibition catalogue, John Marciari, Sublime Ideas: Drawings by Giovanni Battista Piranesi (Paul Holberton Publishing, 2023), pp. 865–67,
• Gauvin Alexander Bailey, Review of the exhibition catalogue, Rosario Inés Granados, ed., Painted Cloth: Fashion and Ritual in Colonial Latin America (University of Texas Press, 2022), pp. 867–69.
• Camilla Pietrabissa, Review of the exhibition catalogue, Anita Viola Sganzerla and Stephanie Buck, eds., Connecting Worlds: Artists and Travel (Paul Holberton Publishing, 2023), pp. 870–72.
• Giullaume Kientz, Review of the exhibition catalogue, Víctor Nieto Alcaide, ed., Goya: La ribellione della ragione (ORE Cultura, 2023), pp. 872–74.
• Timothy Wilson, Review of Marino Marini, Maiolica and Ceramics in the Museo Nazionale del Bargello, translated by Anna Moore Valeri (Allemandi, 2024), pp. 876–77.
• J. V. G. Mallet, Review of Caterina Marcantoni Cherido, Maioliche italiane del Rinascimento (Fondazione Musei Civici di Venezia, 2022), pp. 877–79.
• Aurora Laurenti, Review of Esther Bell, Pauline Chougnet, Sarah Grandin, Charlotte Guichard, Corinne Le Bitouzé, Anne Leonard, and Meredith Martin, Promenades on Paper: Eighteenth-Century French Drawings from the Bibliotheque nationale de France / Promenades de papier: Dessins du XVIIIe siècle des collections de la Bibliothèque nationale de France (Clark Art Institute and BnF Editions, 2023), pp. 883–84.
• Clare Hornsby, Review of Christopher M.S. Johns, Tommaso Manfredi, and Karin Wolfe, eds., American Latium: American Artists and Travelers in and around Rome in the Age of the Grand Tour (Accademia Nazionale di San Luca, 2023), pp. 884–86.
• Lydia Hamlett, Review of John Laycock, William Kent’s Ceiling Paintings at Houghton Hall (Houghton Arts Foundation, 2021), p. 887.
• Lin Sun, Review of Shane McCausland, The Art of the Chinese Picture-Scroll (Reaktion Books, 2023), pp. 887–88.
Call for Submissions | Metropolitan Museum Journal
Metropolitan Museum Journal 60 (2025)
Submissions due by 15 September 2024
The Editorial Board of the peer-reviewed Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection. The Journal publishes Articles and Research Notes. Works of art from The Met collection should be central to the discussion. Articles contribute extensive and thoroughly argued scholarship—art historical, technical, and scientific—whereas Research Notes are narrower in scope, focusing on a specific aspect of new research or presenting a significant finding from technical analysis, for example. Articles and Research Notes in the Journal appear in print and online, and are accessible in JStor on the University of Chicago Press website. The maximum length for articles is 8,000 words (including endnotes) and 10–12 images, and for research notes 4,000 words (including endnotes) and 4–6 images.
The process of peer review is double-anonymous. 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. Submission guidelines are available here. Please send materials to journalsubmissions@metmuseum.org. The deadline for submissions for volume 60 (2025) is 15 September 2024.
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