Lecture | Laura Beltrán-Rubio on Fashion in the Colonial Andes
In March at BGC:
Laura Beltrán-Rubio | Indigenizing Fashion in the Colonial Andes
Bard Graduate Center, New York, 25 March 2026, 6.00pm
Unidentified artist from Cusco, The Virgin with Tailors, ca. 1750, oil and gold on canvas, 58 × 40 inches (Lima: Museo Pedro de Osma).
Textiles have been central to the material culture of the Andes since time immemorial. With the Spanish colonization of the Americas, the textile primacy of the Andes adapted: rather than a straightforward imposition of European trends, Indigenous fashion and textile practices have undergone complex processes of ‘cultural authentication’ and ‘survivance’. This lecture unravels evidence from archival and pictorial sources from the sixteenth through the eighteenth century to recenter the Indigenous agents, materialities, techniques, technologies, and systems of knowledge that have shaped Indigenous fashion practices in the Andes. It thus offers a reevaluation of the history of fashion and textiles in the colonial Andes to demonstrate that Native American and Euro-American histories of fashion and textiles are inevitably intertwined, complex, and mutually influential.
Registration is available here»
Laura Beltrán-Rubio is a researcher, curator, and educator, specializing in the history of art and fashion. Her research explores the construction and performance of identities through artistic expression, with a broad interest in Native American and Indigenous fashion and textiles. Her first book, Empire of Fashion: Luxury, Consumption and Identity in the Viceroyalty of New Granada, is under contract with the University of Texas Press. Beltrán-Rubio completed her PhD at the College of William and Mary (Williamsburg, VA) and holds an MA in Fashion Studies from Parsons School of Design (New York). She has previously taught at Parsons, William and Mary, Universidad de los Andes (Bogotá, Colombia), and De Montfort University (Leicester, UK). She is senior researcher and managing editor at the Fashion and Race Database and hosts the podcast Redressing Fashion. As a public-facing scholar, her mission is to expand the narratives of fashion to create more diverse, equitable, and socially just societies.
Online Conversation | Reflecting on Turner in 2025
Registration for this HECAA Great Conversation (open to non-HECAA members) is available here:
Turner in 2025: Reflecting on the Anniversary Year’s Exhibitions
With Chloe Wigston Smith, Richard Johns, Lucinda Lax, and Melissa Gustin
Online, 23 January 2026, 12.30 EST / 5.30 GMT
J.M.W. Turner, The Wreck Buoy, first exhibited in 1849, oil on canvas, canvas: 93 × 123 cm (Liverpool: Walker Art Gallery).
Joseph Mallord William Turner was born in 1775. To mark 250 years since his birth, a number of anniversary exhibitions were organized across the United Kingdom and the United States in 2025. Some contextualized Turner with other notable contemporaries; others focused on specific aspects of his career or mined collection holdings. This roundtable will bring together four curators of three Turner anniversary exhibitions to ask them to reflect on their exhibitions and ponder together what it means to exhibit Turner today.
• Melissa Gustin is Curator of British Art at the National Museums Liverpool, and curator of Turner: Always Contemporary at the Walker Art Gallery.
• Lucinda Lax is Interim Head of the Curatorial Division and Curator of Paintings and Sculpture at the Yale Center for British Art, and curator of J.M.W. Turner: Romance and Reality.
• Richard Johns is Senior Lecturer in the Department of History of Art at the University of York. Along with Smith, he was a co-curator of Austen and Turner at Harewood House.
• Chloe Wigston Smith is Professor in the Department of English at the University of York and Director of its Centre for Eighteenth-Century Studies. Along with Johns, she was a co-curator of Austen and Turner at Harewood House.
Join us on Friday, 23 January 2026 at 12.30pm EST / 5.30pm GMT for this HECAA Great (Zoom) Conversation. The event is open to current and prospective HECAA members; so please share widely in your networks.
Online Talks | Patricia Ferguson, Ivan Day, Neil Buttery, and Paul Crane
From the Museum of Royal Worcester:
Museum of Royal Worcester | Online Winter Talk Series, 2025–26
The Museum of Royal Worcester is thrilled to present another season of fascinating online talks to keep the winter blues at bay. Curl up with a warm drink and join us as we explore art, food, and history with three brilliant speakers.
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Ivan Day | Frozen Delights: A History of Porcelain and Ice Cream
Wednesday, 21 January 2026, 6pm
Ice Pail, 1776, William Davis Factory (Museum of Royal Worcester).
During the eighteenth century, ice cream became the ultimate show-off luxury for adorning a fashionable dinner table. As a result, new items for serving this novelty dish started to appear on the market. The challenge was to produce an attractive container which could be displayed centre stage on the sideboard or table, but which was also capable of preventing the ice cream from melting. These specialised three-part vessels first appeared in France in 1720s, where they were called seaux à glace—ice cream coolers. They employed a mixture of ice and salt to refrigerate their contents. By the 1770s the fashion for these beautiful vessels became an aristocratic craze, and nearly every European manufactory was producing them. In England, the Worcester factory played a leading role in developing some of the finest of these vessels. Ivan Day will guide us through the development of ice cream coolers and ice cream cups, with a focus on the marvellous examples produced at Worcester. Book here»
Ivan Day is one of the UK’s most celebrated food historians, broadcasters, writers, and curators, specialising in the reconstruction of period kitchens and historic table displays. His work has been exhibited in many institutions worldwide, including the Museum of London, the Metropolitan Museum of Art, and the Getty Research Institute. His publications include Cooking in Europe, 1650–1850 and Ice Cream: A History.
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Neil Buttery and Paul Crane | Sugar, Slavery and Empire / The Evolution of Worcester Sucriers
Wednesday, 4 March 2026, 6pm
A rare early Dr Wall Worcester Sucrier and Cover with Flame finial, ca. 1753. A unique example retaining its cover, the shape derived from silver. Ex Rous Lench collection Worcestershire.
Join food historian Neil Buttery and ceramics expert Paul Crane in a presentation discussing the role of sugar and the associated enslavement of African peoples in the growth and development of the British Empire and Worcester Porcelain in the eighteenth century. Neil will explore how the reach of the ‘sugar-slave complex’ was all-pervading, influencing the sale and evolution of fancy goods, especially those associated with the tea table, which, of course, included porcelain. As a case study, Paul will focus on the evolution of the sucrier in the first fifty years of Worcester Porcelain. Book here»
Neil Buttery is a multi award-winning food historian, author, podcaster, and chef. He hosts The British Food History Podcast and co-hosts A is for Apple: An Encyclopaedia of Food & Drink. His publications include A Dark History of Sugar, Before Mrs Beeton: Elizabeth Raffald, England’s Most Influential Housekeeper, Knead to Know: A History of Baking, and The Philosophy of Puddings. Dr. Buttery has recently collaborated with the Museum of Royal Worcester on projects to deliver narratives on the history of food and porcelain to wider communities. His permanent display “Dr. Wall’s Dinner” at MoRW recently won the Food on Display Award at the British Library Food Season Awards in 2025.
Paul Crane is an independent historian and consultant to the Brian Haughton Gallery, London. He is a descendant of Dr. John Wall (1708–1776), who founded the Worcester Porcelain Manufactory in 1751. Paul presently sits as a Trustee of the Museum of Royal Worcester, formerly the Dyson Perrins Museum in the city of Worcester. He also is a Fellow of the Society of Antiquaries, an independent historian and researcher, and a Liveryman of the Worshipful Company of Art Scholars.
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Patricia Ferguson | Exploring the Rococo through Chelsea’s Gold Anchor Vases
Tuesday, 2 December 2025, 6pm — A recording is available here»
Vase (one of a pair), Chelsea Porcelain Factory, ca. 1762 (New York: The Metropolitan Museum, 1970.313.2a, b).
Of all design styles, Rococo was perhaps the most rebellious—ornate, theatrical, and a true ‘style without rules’. Emerging in France in the 1720s–30s, it featured curved, asymmetrical motifs drawn from nature, especially the acanthus leaf, and marine-inspired forms that gave rise to its name, from rocaille (‘rock’ or ‘shell’). Its greatest achievements appeared in the decorative arts—furniture, silver, and ceramics. By the 1750s–60s, English porcelain factories like Worcester and Chelsea embraced Rococo, even as taste was shifting toward Classical order. Worcester adapted Rococo silver shapes for tablewares, but Chelsea—under Flemish silversmith Nicholas Sprimont—produced some of the boldest Rococo porcelain in Europe, rivaling Meissen and Sèvres. This talk explores Chelsea’s gold anchor period (ca. 1758–64), its spectacular vases, its rivals, and its enduring legacy.
Patricia F. Ferguson is a ceramic researcher, a former curatorial consultant at the Victoria and Albert Museum and the British Museum, she is an advisor on ceramics for the National Trust and other heritage organizations. Her publications include Pots, Prints, and Politics: Ceramics with an Agenda, from the 14th to the 20th Century (2021); Ceramics: 400 years of British Collecting in 100 Masterpieces (2017); and Garnitures: Vase Sets from National Trust Houses (2017).
Lecture | James Stourton and Hannah Kaye, The British Love for Venice
Moor Park, Hertfordshire, England. The estate has housed the Moor Park Golf Club since the 1920s. The 17th-century house was remodelled in the 1720s (with South Sea wealth) to designs by James Thornhill. Jacopo Amigoni was subsequently commissioned to paint the four pictures in the Great Hall. Shown here is Jupiter and Io with Cupid and Attendant Putti.
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From the Venice in Peril Fund:
James Stourton and Hannah Kaye | The British Love Affair with Venice:
Four Centuries of Collecting and Connoisseurship
The Society of Antiquaries, Burlington House, London, 16 March 2026
James Stourton joins Hannah Kaye for a lively conversation exploring the enduring British fascination with Venice and its profound impact on taste and culture. From King Charles I to the present day, they will examine how British connoisseurs, collectors and architects have both shaped—and been shaped by—Venetian art, uncovering the themes and ideas that define this centuries-long cultural exchange.
James Stourton is the award-winning author of thirteen books including Rogues and Scholars, The British as Art Collectors, and Kenneth Clark. He is a Senior Fellow of the Institute of Historical Research of London University and currently a visiting fellow at Oxford University. He started his career as an Old Master paintings specialist with Sotheby’s and rose to become UK Chairman until he stepped down in 2012. He writes regularly on art and architecture for national newspapers and has served on government heritage committees. His first visit abroad was to Venice. Hannah Kaye is a freelance producer and one of the founding creators of Intelligence Squared, the leading forum for agenda-setting debates and discussions around the world. She is a trustee of the World Monument Fund Britain.
Monday, 16 March 2026, 6.30pm. Tickets, £30 / lecture recording, £10. All proceeds will go directly towards the vital conservation work of Venice in Peril Fund.
Lecture | Jane Glover on Mozart in Venice
From the Venice in Peril Fund:
Jane Glover | Mozart in Venice: A Crucial Encounter
The Society of Antiquaries, Burlington House, London, 9 February 2026
Pietro Longhi, A Fortune Teller at Venice, ca. 1756, oil on canvas, 59 × 49 cm (London: National Gallery, NG1334).
In December 1769, the 13-year-old Mozart and his father set out on their first journey to Italy. Over the next fifteen months they would visit all the main cities in the peninsula, absorbing Italian culture and garnering unprecedented attention and accolades. Their final stop, in the spring of 1771, was Venice. And although they came away with little immediate or evident reward, the impact of the city on the now 15-year-old boy was profound and extraordinarily consequential. In this talk, Jane Glover, acclaimed conductor and musician, explores this brief but crucial encounter between a unique prodigy and a unique city.
Jane Glover is currently enjoying her 50th season as a conductor, having made her professional debut at the Wexford Festival in 1975. She has since performed opera and concerts all over the world, including at the Teatro La Fenice in Venice. A Mozart specialist, she has been Music Director of Glyndebourne Touring Opera, Artistic Director of the London Mozart Players, Director of Opera at the Royal Academy of Music, and, since 2002, Music Director of Chicago’s Music of the Baroque. She is the author of Mozart’s Women, Handel in London, and Mozart in Italy.
Monday, 9 February 2026, 6.30pm. Tickets, £30 / lecture recording, £10. All proceeds will go directly towards the vital conservation work of Venice in Peril Fund.
Lecture | Frédéric Ogée on Hogarth and the English Enlightenment
Presented by the Lewis Walpole Library:
Frédéric Ogée | Art and Truth: William Hogarth and the English Enlightenment
28th Lewis Walpole Library Lecture
Yale University Art Gallery, New Haven, 12 February 2026
William Hogarth, Self-Portrait, ca. 1735, oil on canvas (New Haven: Yale Center for British Art, Paul Mellon Collection, B1981.25.360).
William Hogarth was a pioneering painter and engraver of 18th-century Britain and is often considered as one of the most important figures in the rise of an English school of art. His art engaged in an unprecedented manner with the ideas, debates, and values of the English Enlightenment, translating them into accessible visual narratives, encouraging the development of active critical thinking. As such his art reflected and nourished the English Enlightenment’s empiricist agenda—the idea that knowledge comes from observation and experience—to which he gave accessible visibility by bringing art into the realm of popular culture and public discourse, and putting the distinctions between ‘high’ and ‘low’ art under serious stress. His major contribution to the promotion of a ‘modern’ (and English) conception of art is the unflinching priority he always gave to truth over beauty in his representations, a feature, remarkably, that has remained characteristic of British art ever since.
Frédéric Ogée is Emeritus Professor of British Literature and Art History at Université Paris Cité and École du Louvre. His main period of research is the long eighteenth century, and his publications include two collections of essays on William Hogarth, as well as ‘Better in France?’ The Circulation of Ideas across the Channel in the Eighteenth Century (Lewisburg, 2005), Diderot and European Culture (Oxford, 2006; repr.2009), and J.M.W. Turner, Les paysages absolus (Paris, 2010). He also co-edited Jardins et civilisations (Valenciennes, 2019) following a conference at the European Institute for Gardens and Landscapes in Caen. In 2006–07, he curated the first-ever exhibition of Hogarth for the Louvre Museum. He is currently working on a series of four large monographs in French on eighteenth- and nineteenth-century British artists. The first one, Thomas Lawrence: Le génie du portrait anglais was published in December 2022. The second one, on the landscape artist J.M.W. Turner, will be published early in 2026.
Thursday, 12 February 2026, 5.30pm
Yale University Art Gallery Auditorium
Installation | Revolution!
Paul Revere Jr., after Henry Pelham, The Boston Massacre, or, The Bloody Massacre perpetrated in King Street, Boston on 5 March 1770 by a party of the 29th Regiment, detail, 1770, hand-colored engraving and etching, second state, sheet: 11 × 9.5 inches (New York: The Metropolitan Museum of Art, Gift of Mrs. Russell Sage, 1910, 10.125.103).
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Opening soon at The Met:
Revolution!
The Metropolitan Museum of Art, New York, 19 January — 6 August 2026
Curated by Sylvia Yount, Constance McPhee, and Wolf Burchard
This special installation marks the 250th anniversary of the Declaration of Independence, the founding document of the United States of America. Works drawn from many different areas of The Met offer a wide view of the roots, course, and aftermath of the Revolutionary War (1775–1783)—from early conflicts between colonists and Indigenous peoples and the 1765 Stamp Act imposed by the British government on its North American colonies to George Washington’s voluntary retirement, in 1797, from his two-term presidency.
Rarely seen prints reveal the transatlantic circulation of news about the struggle for independence during a fractious political era. This window into the era’s print culture highlights the global dimensions of the rebellion, the contested ideas about liberty that shaped it, and its consequential outcomes. Also on view are American and European works of art that depict a range of significant individuals. These include iconic contributors to the Declaration of Independence John Adams, Benjamin Franklin, and Thomas Jefferson; patriots and presidents such as Paul Revere and George Washington; the Wampanoag chief Metacomet, whose conflicts with early British colonists laid the groundwork for revolution; Mohawk leader Thayendanegea, who allied with the British in an effort to retain Indigenous sovereignty; and African American poet Phillis Wheatley, who raised her voice against an expansive tyranny in her call for emancipation. Together, these artworks acknowledge multiple complex and intertwined histories that continue to resonate in the United States and beyond, some two and half centuries later.
Revolution! is curated by Sylvia Yount, Lawrence A. Fleischman Curator in Charge of the American Wing; Constance McPhee, Curator, Department of Drawings and Prints; and Wolf Burchard, Curator, Department of European Sculpture and Decorative Arts.
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With this additional information from the press release:
The American Wing will also feature in its Alexandria Ballroom (Gallery 719), an historical interior focused on George Washington and his complex legacy—from fall 2025 through early August 2026—with artist Titus Kaphar’s 2016 ‘tar’ portraits of Ona Judge and William Lee, both enslaved members of the Washington family’s households, on loan from private collections. In addition, from March through summer 2026, a recent acquisition by Carla Hemlock (Mohawk) will be on view in dialogue with Rembrandt Peale’s portrait of Washington in the foyer of the Art of Native America installation (Gallery 746 South).
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The Art of the American Revolution: A Conversation with Ken Burns and Sarah Botstein
Thursday, 29 January 2026, 6pm
The Museum will present a panel discussion on the “Art of Revolution” with filmmakers Ken Burns and Sarah Botstein, co-directors with David Schmidt of their new documentary, The American Revolution; historians Philip Deloria and Jane Kamensky; and art historian Gwendolyn DuBois Shaw, along with a screening of excerpts from the PBS series, produced exclusively for The Met, highlighting the creative process of visual storytelling. The conversation will provide an opportunity to reflect on the continued relevance of historical imagery and the power of art to explore the varied stories of the country’s founding.
Online Seminar | Casts Collections across Time and Borders
From ArtHist.net:
Plaster and Bronze Legacies: Rediscovering, Preserving, and
Teaching with Casts Collections across Time and Borders
Online, 25 November 2025, 14.00–18.00 (CET Paris/Rome/Berlin)
Organized by Sarah Coviello, Valeria Paruzzo, and Giuseppe Rizzo
The Research & Development Committee of the Society for the History of Collecting is happy to announce the online seminar Plaster and Bronze Legacies: Rediscovering, Preserving and Teaching with Casts Collections across Time and Borders, the second of the cycle Unveiling Hidden Histories, Creating New Narratives: The Collections of Teaching Institutes. Attendance is free. Please register in advance here.
p r o g r a m m e
14.00 Introduction — Sarah Coviello, Valeria Paruzzo, Giuseppe Rizzo (The Society for the History of Collecting)
14.15 Session 1 | Origins and Early Histories of Cast Collections
• Tanja Kilzer (University of Trier) — The Plaster Cast Collection of the University of Bonn: Lost Works and Major Classical Sculptures in Plaster since 1818
• Jelena Todorović (University of the Arts Belgrade) — Bronze Casts with a Curious History: How a Collection of Bronzes from 1930s Became a Teaching Tool at the Faculty of Fine Arts Belgrade
• Rebecca Yuste (Columbia University, New York City) — Classicism in Mexico: Plaster Casts at the Royal Academy of San Carlos, 1791
15.15 Session 2 | Past and Present of a Fragile Heritage
• Linca Kucsinschi (Jean Moulin University, Lyon 3) — Reviving Classical Antiquity: The Gypsothèque of the University of Bucharest
• Ioana Rus-Cacovean and Tereza Pop (University of Art and Design in Cluj-Napoca) — The Collection of Classical and Hellenistic Plaster Casts of the University of Art and Design in Cluj-Napoca, Romania
• Flaminia Ferlito (IMT School for Advanced Studies in Lucca) — Provenance Studies of Sacred Art in Post-unitary Timeframe: Oronzo Lelli and the Plaster Casts Collection of the Liceo Artistico di Porta Romana in Florence
16.30 Session 3 | Contemporary Uses and New Narratives
• Milena Gallipoli (Museo de la Cárcova, Universidad Nacional de las Artes, Buenos Aires) — Reframing America within ‘Universal Art History’: The Collection of Mesoamerican Plaster Casts and Visual Resources at the Museo de la Cárcova (Buenos Aires, Argentina)
• Emy Faivre (Université Marie & Louis Pasteur, Besançon), Arianna Esposito (Université Bourgogne Europe, Dijon), and Sophie Montel (Université Marie & Louis Pasteur, Besançon) — Sharing Collections for Teaching Purposes (Museums, Art Schools, and Universities): Viewpoint of Preserving and Present-day Learning Practices from France
• Giulia Coco (Galleria dell’Accademia di Firenze e Musei del Bargello) — Enhancement, Research, and Inclusion at the Galleria dell’Accademia di Firenze e Musei del Bargello: The New Acquisition of Venus Entering the Bath by Luigi Pampaloni for the Plaster Casts Collection
17.15 Roundtable Discussion and Networking: Towards a Shared Framework for Cast Collections in Teaching
Online Talk | Naming Rights: The Case of Mai/Omai from Polynesia
From YCBA:
Naming Rights: The Case of Mai/Omai from Polynesia
with Jessie Park, Catherine Roach, and Edward Town
Online and in-person, Yale Center for British Art, New Haven, Thursday, 13 November 2025, 12pm ET
Sir Joshua Reynolds, Study for the Portrait of Mai (‘Omai’), ca. 1774, oil on canvas, 64 × 56 cm (New Haven: Yale University Art Gallery).
This event marks the return to public view of Sir Joshua Reynolds’s Study for the Portrait of Mai (‘Omai’), on loan from the Yale University Art Gallery. The first person from Polynesia to reach Britain, the sitter in Reynolds’s painting sought a military alliance and instead became a celebrity among Europeans, due in part to a public persona he crafted and enacted. The man now known as Mai bore many names over his lifetime. He came to fame in Britain as ‘Omai’ or ‘Omiah’, a British misunderstanding of a Tahitian honorific that he reportedly bestowed on himself. What should we call him, and his representations, today? Can this case study offer deeper insights into the ethics of naming pictures? And how might we thoughtfully narrate the stories of historical figures of color whose lives are known nearly exclusively through European visual and textual sources?
Join the livestream here»
Jessie Park is Nina and Lee Griggs Assistant Curator of European Art, YUAG. Catherine Roach is Graduate Program Director and Associate Professor of Art History in the School of the Arts, Virginia Commonwealth University. Edward Town is Assistant Curator of Paintings and Sculpture, YCBA.
New Book | The People of Print: Eighteenth-Century England
From Cambridge UP, with an online book launch, together with a speed-pitching workshop, scheduled for Monday (see below) . . .
Adam James Smith, Rachel Stenner, and Kaley Kramer, eds., The People of Print: Eighteenth-Century England (Cambridge: Cambridge University Press, 2025), 124 pages, ISBN: 978-1009629454, $18.
This collection profiles understudied figures in the book and print trades of the eighteenth century. With an explicit focus on intervening in the critical history of the trades, this volume profiles seven women and three men, emphasising the broad range of material, cultural, and ideological work these people undertook. It offers a biographical introduction to each figure, placing them in their social, professional, and institutional settings. The collection considers varied print trade roles including that of the printer, publisher, business-owner, and bookseller, as well as several specific trade networks and numerous textual forms. The biographies draw on extensive new archival research, with details of key sources for further study on each figure. Chronologically organised, this Element offers a primer both on individual figures and on the tribulations and innovations of the print trade in the century of national and print expansion.
c o n t e n t s
Preface
1 Introduction — Adam James Smith, Rachel Stenner, and Kaley Kramer
2 Elizabeth Nutt: Print Trade Matriarch (1666–1746) — Helen Williams
3 John Nicholson and the Auctioning of Copyright (d.1717) — Jacob Baxter
4 Catherine Sanger: Publisher in Bartholomew Close (1687–1716) — Kate Ozment
5 John White Junior: Printer in the North (1689–1769) — Sarah Griffin
6 Selling the Enlightenment: Mary Cooper and Print Culture (1707–1761) — Lisa Maruca
7 The ‘Indefatigable’ Ann Ward: Printer in York (1715/6–1789) — Kaley Kramer
8 Anne Fisher (1719–1778): Not Simply a Printer’s Wife — Barbara Crosbie
9 Sold at the Vestry: John Rippon (1751–1836) and the Hymnbook Trade — Dominic Bridge
10 Diversity in the Book Trades: Ann Ireland (1751–1843) of Leicester — John Hinks
11 ‘Laugh when you must, be candid when you can’: The Concealed Resistance of the Radical Printer Winifred Gales (1761–1839) — Adam James Smith
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From Eventbrite:
The People of Print: Eighteenth-Century England
Book Launch and Early Career Researcher Speed-pitching Workshop
Online, Monday, 3 November, 6.30pm GMT
All welcome! Please register by 2 November.
Join the Centre for Print Culture at the University of Sussex to celebrate the publication of this volume, the follow-on to The People of Print: Seventeenth-Century England, with an evening of lively talks and discussion. The People of Print: Eighteenth-Century England profiles understudied figures in the book and print trades, featuring new research and critical perspectives on this fascinating and rich cultural field. We will be joined by Dr Barbara Crosbie (Durham University), Dr Jacob Baxter (St Andrews), and Dr Lisa Maruca (Wayne State, Professor Emerita), who will discuss their research for the latest collection.
Following the launch, there will be a Speed-pitching workshop (7.30–8.15pm GMT) for early career researchers studying topics in the histories of the book, print, and publishing trades. Come with an idea you can explain in 3 minutes, and we will pair you with one of our publishing panel of journal, series, and book editors for feedback:
• Dr Helen Williams, The Printing Historical Society
• Dr Kaley Kramer and Dr Adam James Smith, editors The People of Print
• Professor Samantha Rayner, Commissioning Editor of Cambridge Elements, Publishing and Book Culture
• Dr Rachel Stenner, editor of Publishing History journal and The People of Print series
Enfilade 
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