Call for Contributions | Towards a Blue Art History
From ArtHist.net:
Online Platform: Towards a Blue Art History
Hosted on Arcade by the Stanford Humanities Center
Curated by Juliette Bessette and Margaret Cohen
Proposals for contributions accepted on an ongoing basis
The visual arts hold a privileged position in exploring human connections to the ocean. Across history, they have expressed ocean emotions and ocean knowledge. In the modern and contemporary periods, they have been associated with its scientific, popular, poetic, mythical, and political approaches. Increasingly, visual studies scholars are surfacing the connections among human practice, the imagination, and the environment to reveal the power of the image, in all its forms, to probe and expand the human relationship with the seas.
The importance and critical role of visual studies within the field of blue humanities, or ocean humanities originated from the interdisciplinary symposium A Blue Art History (Marseille, France, 2024, organized by Juliette Bessette, with Margaret Cohen as keynote speaker). Bringing together insights from ocean sciences and the humanities, as well as from art historians, artists, and museum professionals, it highlights key issues through which art has shaped conceptions of the ocean across different periods and contexts, as well as specific oceanic modes of understanding the world. These issues include the porous boundaries between artistic and scientific representations of the sea, the emotions and ethics of fishing, and the cultural significance of the marine environment and its biodiversity, whether shown in conventional art venues or visited in underwater installations.
Towards a Blue Art History is a scholarly platform bringing together contributions from current research on art and visual culture related to the ocean. Its aim is to foster the development of a Blue Art History: a historical approach to the arts grounded in the blue humanities and attentive to how artworks, across periods, articulate and shape human relationships with the sea. The platform is curated by Juliette Bessette (Université de Lausanne) and Margaret Cohen (Stanford University) and is hosted by the Stanford Humanities Center on Arcade. A more detailed introductory text is available on the platform here.
Proposals are welcome from all disciplines, provided they engage in sustained and critical attention to artworks or visual objects and make them central to the argument; hence art historians are especially encouraged to contribute. All historical periods and a wide range of visual media are encouraged. There is no submission deadline. Contribution formats are open and can be defined in dialogue with the editors, ranging from written essays to short video capsules, interviews, or other alternative formats discussed collaboratively. Contributions should help expand and structure the emerging field of Blue Art History. To submit a contribution idea (no more than 500 words) outlining the topic, corpus, and approach, please write to juliette.bessette@unil.ch.
Completing the Turner Cataloguing Project
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In 2012, updates on the Turner Bequest cataloging project described the effort as a 30-year initiative with a completion date of 2014. A decade later, this short film marks the close of the project’s final phase.
“Completing the Turner Cataloguing Project | What Can Turner’s Sketchbooks Tell Us? New Discoveries,” 11 minutes, produced by Storya, 2025. Featuring Matthew Imms, Hayley Flynn, Hannah Kaspar, and Vanessa Otim.
Marking 250 years since the birth of J.M.W. Turner, this short documentary explores the closing chapter of a decades-long cataloguing project that has transformed how we see one of Britain’s greatest artists. Commissioned by the Paul Mellon Centre in collaboration with Tate, the film captures the final phase of cataloguing Turner’s 37,000 drawings, sketchbooks, and watercolours—the largest holding of preparatory works by a single artist in the world.
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The catalogue is available here»
David Blayney Brown, ed., J.M.W. Turner: Sketchbooks, Drawings, and Watercolours (London: Tate Research Publication, 2012).
Landscape and history painter, master draughtsman and watercolourist, tireless traveller, poet and teacher, J.M.W. Turner (1775–1851) exemplifies the energy, imagination and enquiring spirit of his time. For his admirer John Ruskin he was “the greatest of the age.” Explore the world’s largest collection of Turner’s sketchbooks, drawings and watercolours and its unique insights into the artist’s mind and creative process. Follow him as he toured Britain and Europe, discovered new subjects, styles and techniques, and developed his pictures, poetry and prints.
J.M.W. Turner: Sketchbooks, Drawings and Watercolours is a growing catalogue of the many thousands of original works on paper in Tate’s collection, drawn mainly from Turner’s bequest of his collection to the nation. Divided into five sections covering different phases in Turner’s career, the catalogue consists of thematic groupings of works, arranged chronologically and by subject. Entries on the groupings and individual works provide detailed commentaries, exhibition and publication histories, and information about the media and materials used.
Research Leads
Martha Barratt — Senior Research Editor
Amy Concannon — Manton Senior Curator, Historic British Art
Project Editors
David Blayney Brown — Curator British Art, 1790–1850
Matthew Imms — Senior Cataloguer
Jennifer Mundy — Head of Art Historical Research
The full contributor list is available here»
Research Project | Generation Landscape
Francis Danby, The Avon Gorge, Looking toward Clifton, ca. 1820
(New Haven: Yale Center for British Art, Paul Mellon Collection)
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From the Paul Mellon Centre:
With the completion of the online catalogue of the Turner Bequest at Tate, supported by the PMC and launched with a major international conference, Turner 250 at Tate, this is a watershed moment for the study and understanding of the contribution of English landscape painting within the wider contexts of European and world culture. Generation Landscape will bring art historians, curators, academic researchers, and creative voices together to think afresh about this significant moment in art history, when a generation of emerging artists created paintings and graphic works offering bold and often experimental new visions of nature, the landscape and the purpose of art itself—and why these images continue to carry such imaginative force today.
Sarah Turner, Director of the PMC, said: “Collaborating to support a vibrant infrastructure of research is at the heart of the PMC’s approach. Through our funding, we are really delighted to bring together the convening potential and academic expertise offered by the Courtauld’s new Manton Centre with our partners at museums and galleries in Ipswich, Bristol, and Margate. This partnership is going to build on the foundations of the extraordinary body of scholarship that already exists on artists such as Turner and Constable and will support a new generation of curators, researchers, and artists to engage with it and shape different and original responses for audiences today. “
Steve Edwards, Director of the Manton Centre at The Courtauld, said: “Sir Edwin Manton built an art collection centred around the important generation of English landscape painters: Constable, Gainsborough, Girtin, Turner, and others. This collaboration between the Manton Centre and the Paul Mellon Centre for Studies in British Art establishes a dialogue with the artists at the heart of his interests to consider the meanings and values that have shaped Britain. Generation Landscape will support and promote new scholarship and curatorial work concerned with landscape and nature, providing an exciting opportunity to place contemporary research in conversation with a moment when both British art and British society were undergoing profound change.”
Generation Landscape is a three-year programme of research and events organised by the Paul Mellon Centre for Studies in British Art and the Manton Centre at The Courtauld.
With additional information here:
This research project is founded upon the simple fact that a stellar collection of British landscape artists—including J.M.W. Turner, John Constable, Thomas Girtin, and John Sell Cotman—were born within just a few years of each other (1775 in the case of the earliest, Girtin and Turner, and 1782 in the case of the latest, Cotman). Generation Landscape is intended to look afresh at the kinds of landscape imagery produced by these individual artists and their contemporaries. It will do so from a variety of art-historical perspectives, including those that are being newly developed in response to our current environmental crisis.
Generation Landscape encompasses and complements detailed new research on a number of the individual practitioners listed above. This activity includes the production of a new online catalogue of Thomas Girtin’s works, written by Dr. Greg Smith, published in 2022. Research undertaken as part of the project fed into the major 2025 Tate Britain exhibition Turner and Constable: Rivals & Originals. More broadly, Generation Landscape aims to chart the trajectories of this distinctive cohort of landscape artists in relation to a shared set of interests, experiences, and circumstances. It will look at how these practitioners and their works interacted with, and differed from, each other, and responded in both comparable and contradictory ways to the challenges—artistic, cultural, political, and environmental—thrown up by their era.
Generation Landscape was initiated in 2021 by Mark Hallett, former Director of the Paul Mellon Centre.
Thematic Route | Queen Isabel de Farnesio (1692–1766)
Louis-Michel van Loo, Queen Elisabetta Farnese, detail, ca. 1739, oil on canvas, 152 × 110 cm
(Madrid: Museo Nacional del Prado, P002397)
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From the press release for the new edition of the Prado’s Female Perspective initiative:
El Prado en femenino III: Queen Isabel de Farnesio (1692–1766)
Museo Nacional del Prado, Madrid, 1 December 2025 — 26 May 2026
Curated by Noelia García Pérez
The Museo Nacional del Prado shines a long-overdue spotlight on one of the most influential yet often overlooked women in European art history: Queen Isabel de Farnesio. With the third edition of its acclaimed initiative El Prado en femenino, the museum invites visitors to rediscover the 18th-century monarch whose passion for collecting helped shape what is now one of the world’s great art museums. Running until 26 May 2026, the new itinerary, created in collaboration with Spain’s Women’s Institute and supported by Iryo, moves the focus into the 18th century, following earlier editions devoted to Renaissance and Baroque royal women. This time, the star is a queen whose impact on the arts remains quietly yet unmistakably present throughout the Prado: Isabel de Farnesio (1692–1766), wife of King Philip V and one of the most active artistic patrons of her era.
Resting Satyr, an ancient Roman copy of a work by Praxiteles, ca. 150–75 CE, Carrara marble (Madrid: Museo Nacional del Prado, E000030). The work was restored in the 17th century by Bernini’s workshop.
Few visitors realize that nearly 500 works in today’s Prado once belonged to her—paintings, drawings, and sculptures that now hang in almost half the museum’s galleries. The itinerary traces her unmistakable imprint, marked historically by a tiny fleur-de-lis stamped on the back of the works she owned. These include masterpieces like Rubens’s Apostolate, Ribera’s Jacob’s Dream, Velázquez’s Sibyl, Guido Reni’s Saint Sebastian, Correggio’s Virgin and Child with Saint John, and dozens of luminous works by Murillo, her favorite painter. Her taste was cosmopolitan and bold. Drawing on her Italian upbringing and a sharp eye for quality, Isabel assembled one of the finest painting collections of her time, particularly strong in the Flemish and Italian schools. She relied on a network of diplomats, agents, and noble intermediaries—yet maintained striking independence through her own private funds known as ‘the queen’s purse’.
Isabel’s legacy is not only pictorial. She was also responsible for bringing to Spain one of the most coveted collections of ancient sculpture in Europe: the classical masterpieces once owned by Queen Christina of Sweden. Works such as the Group of San Ildefonso, the Faun with a Kid, the Diadoumenos, and the Resting Satyr—cornerstones of the Prado’s classical sculpture galleries—arrived in Spain because Isabel insisted on acquiring them. She personally selected the pieces, reserved the finest for herself, and ensured they would become part of the Royal Collection.
The 45 works featured in this edition of El Prado en femenino, curated under the academic direction of Professor Noelia García Pérez, span newly rediscovered paintings, long-hidden works pulled from storage, and pieces returned from university and embassy loans. A recently identified Murillo sketch—found in the Musée de Pau during an inventory—appears at the Prado for the first time.
The project extends beyond the walls of the museum with the launch of an ambitious programme of talks, symposia, audiovisual productions, guided tours, family resources, a teacher-training course, concerts, and a new Wikipedia Editathon dedicated to expanding the online presence of women who shaped art history. With El Prado en femenino III, the museum takes another major step in reframing its collection through a gender-aware lens. In giving Isabel de Farnesio the attention she long deserved, the Prado not only revisits its past—it redefines the future of how art history is told.
The brochure for the thematic route is available here»
The website for the broader initiative of The Female Perspective is available here»
Princeton University Library Special Collections Research Grants
From Princeton University Library:
Princeton University Library Special Collections Research Grants
Applications due by 14 January 2026
The Friends of the Princeton University Library Research Grants Program, funded by the Friends of PUL, is now accepting applications through noon on 14 January 2026. With grants of up to $6,000, plus travel expenses, this competitive grant program offers researchers from around the world access to PUL’s rare and unique collections. Awarded to short-term research projects lasting between two and four weeks, the grants aim to promote scholarly use of the Library’s special collections. Research projects are focused on scholarly use of archives, manuscripts, rare books, and other rare and unique holdings of PUL.
A new grant is available this year: the “Will Noel Innovative Cultural Heritage Research Grant,” specifically for cultural heritage professionals to work with PUL’s Special and Distinctive Collections and the Library IT Digital Studio’s specialized photographic equipment to gain new insights into our collective past.
Find out more and how to apply here. Questions can be directed to pulgrant@princeton.edu.
The Decorative Arts Trust Announces 2025 Publishing Grants
From the press release:
The Decorative Arts Trust is thrilled to announce the five recipients of our 2025 Publishing Grants. The Birmingham Museum of Art in Birmingham, Alabama; the Florence Griswold Museum in Old Lyme, Connecticut; The Preservation Society of Newport County in Newport, Rhode Island; and Victoria Mansion in Portland, Maine, received Publishing Grants under the ‘Collections and Exhibitions’ category. Dr. Mariah Kupfner received a Publishing Grant for ‘First-Time Authors’.
In August 2026, the publication of Roll Call: 200 Years of Black American Art will be an integral part of the 75th anniversary celebration of the Birmingham Museum of Art. Planned alongside a companion exhibition, the publication will also serve as a comprehensive survey of the Museum’s collection of works by African American and Black American artists who live(d) and work(ed) in America, including its superb holdings of Southern quilts and ceramics.
Elizabeth Foote, Bed rug, ca. 1778, Colchester, CT, hand-embroidered wool on plain woven wool ground (Courtesy of the Connecticut Historical Society, Gift of Mrs. J.H.K. Davis).
In 2022, the Florence Griswold Museum presented the exhibition New London County Quilts & Bed Covers, 1750–1825, which showcased exquisite, rarely-seen quilted petticoats, appliqued bed covers, bed rugs, and stuffed whitework quilts hand-crafted by women and girls of this region of Connecticut. The accompanying publication, set to be completed by April 2027, shares the scholarship generated for the exhibition, addressing an understudied and continuously evolving area of material culture that will open emerging areas of study for rising scholars.
Treasures of the Newport Mansions, the first ever collections catalogue for The Preservation Society of Newport County (PSNC), will span centuries and highlight the organization’s distinctive material content. Among the most significant in the United States, PSNC’s holdings uniquely encompass extraordinary objects within their original historical contexts. Presenting approximately 100 objects, the catalogue, which will be published by February 2027, will highlight advanced research made by experts and early-career scholars across multiple disciplines.
Victoria Mansion’s ‘Bold, Designing Fellows’: Italian Decorative Painters and Scenic Artists in the United States, 1820–1880 is inspired by many years of research on the Bolognese artist Giuseppe Guidicini. Previously unknown, Guidicini was responsible for the 1860 design and decoration of the wall and ceiling paintings that fill Victoria Mansion. The publication is set to be completed by May 2026 and will chronicle Guidicini’s history from his training in Bologna to his accomplishments in New York, Cincinnati, and Richmond.
Publishing Grant recipient Dr. Mariah Kupfner is an Assistant Professor of American Studies and Public Heritage at Penn State Harrisburg and earned her PhD from Boston University. She will publish Crafting Womanhood: Needlework, Gender, and Politics in the United States, 1810–1920 with the University of Delaware Press in August 2026. This publication looks closely at gendered textiles, reading them as essential sources of historical meaning and self-making.
Visit the Decorative Arts Trust’s website to learn more about the Publishing Grants program. Applications for the next round of grants are due by 31 March 2026.
Exhibition | Philadelphia, The Revolutionary City
From the APS:
Philadelphia, The Revolutionary City
American Philosophical Society Museum, Philadelphia, 11 April — 28 December 2025
Philadelphia, The Revolutionary City illuminates the lived experiences of Philadelphians leading up to, during, and after the fight for independence. It showcases historic documents and material culture, ranging from diaries and newspapers to political cartoons and household objects. Beginning with the Stamp Act in 1765, the exhibition traces key events through the late 1780s and the impacts they had on communities living within and around the city. The exhibition features a range of voices and stories, offering windows into this turbulent period of change and presenting Revolution-era Philadelphia as a vibrant and growing city.
This exhibition is inspired by the innovative digital archive The Revolutionary City: A Portal to the Nation’s Founding, recently launched by the American Philosophical Society, the Historical Society of Pennsylvania, and the Library Company of Philadelphia, in partnership with the Kislak Center for Special Collections, Rare Books and Manuscripts and the Museum of the American Revolution. Philadelphia, The Revolutionary City brings together rare manuscript material and objects from the APS’s Library and Museum holdings, and the collections of these partners, as well as loans from regional institutions, and nearby historic houses and museums.
The related publication is distributed by the University of Pennsylvania Press:
Philadelphia, the Revolutionary City (Philadelphia: The American Philosophical Society Press, 2025), 110 pages, ISBN: 978-1606181225, $30. With contributions by Patrick Spero, Michelle Craig McDonald, John Van Horne, David R. Brigham, Caroline O’Connell, and Bayard Miller.
The book includes a fully-illustrated object checklist with information for each item as well as a curatorial statement about the project’s development. Additionally, it features three essays, one from each of the directors of the special collection libraries, focusing on key objects within each collection, plus an essay on the origins of the digital project and its ongoing work. Each essay offers a unique perspective on Philadelphia’s revolutionary history and a range of stories that can be found in these archives and on the digital portal.
The Decorative Arts Trust Launches Collecting250
From the press release:
Collecting250
The Decorative Arts Trust
New Online Resource Commemorates the Semiquincentennial through 250 Objects from across America.
The Decorative Arts Trust is pleased to share Collecting250.org, an interactive online resource that celebrates the importance of objects in narrating the history and evolution of the United States and the communities contained within. To commemorate America’s 250th, the United States Semiquincentennial, the Trust asked museums and historical societies to submit images and information about objects in their collections that tell powerful stories about national, state, or local identity. Collecting250 showcases 250 objects from over 140 institutions, and the release is timed in conjunction with the commencement of festivities honoring the 250th anniversary of the American Revolution’s first salvos in Massachusetts in 1775.
“We sought objects that are attached to a specific place, time, and people,” shares Trust Executive Director Matthew A. Thurlow. “Our aim was to present 250 objects from public collections across the country, thereby drawing attention to the broad swath of institutions that steward decorative arts of historical significance. This project aligns beautifully with the Trust’s mission to promote and foster an interest in decorative arts and material culture through our role as a community foundation elevating curatorial efforts to steward and study objects.”
Kleiderschrank (Clothes Press), 1779, Lancaster County, Pennsylvania; walnut, yellow pine, oak, sulfur, iron; 6 feet 10 inches × 6 feet 6 inches × 27 inches (Philadelphia Museum of Art, 1957-30-1).
All 50 states and the District of Columbia are represented, and each record contains an image, tombstone information, and a description of the object’s importance. The ability to search for entries based on location, category, and keyword provides the chance to make exciting and enlightening discoveries in unexpected places. The Trust developed connections with museums and historical societies beyond our traditional network, allowing them to highlight extraordinary artistic achievements in the west, including a mid-19th-century bed covering (New Mexico History Museum) featuring churro wool yarn and colcha embroidery introduced by early Spanish settlers.
There is an interplay between objects that are isolated from one another by time, location, maker, and function. For example, two disparate entries associated with the care and storage of textiles: a humble, late-19th-century pressing iron (Illinois State Museum) that Mississippian Bettye Kelly brought to Joliet, IL, in the 1960s; and a stunning sulfur-inlaid kleiderschrank (Philadelphia Museum of Art) made in Manheim, Pennsylvania, in 1779 for Georg Huber. The former speaks to the Great Migration of African Americans northward in the 20th century; the latter to the Germanic communities that were thriving on the eastern seaboard during the American Revolution.
The tradition of basket weaving has been practiced and perfected by various cultures over the past 10,000 years. Two entries separated by a century and the entire continent of North America illustrate the cultural convergences and impulses behind the production of basketry. In 1905, Aleksandra Kudrin Reinken, the daughter of a Unangax̂ (Aleut) mother and Russian father used her community’s traditional weaving techniques to create a basket (Hood Museum of Art) for a tourist clientele that incorporates ornamentation from prints, magazines, and perhaps even a Whitman’s Chocolate Sampler box. In 2007, Mary Jackson, an internationally recognized master of sweetgrass basketry, completed Never Again (Gibbes Museum of Art), inspired by the traditional Gullah rice fanner baskets that she learned to create from her mother and grandmother and that were once made and used on Lowcountry plantations.
Collecting250 is free and open to the public. Visit Collecting250.org to start exploring. The Decorative Arts Trust, founded in 1977, is a nonprofit organization that promotes and fosters the appreciation and study of the decorative arts through programs, partnerships, and grants. Learn more at decorativeartstrust.org.
Eli Wilner & Co. Makes an 18th-C. Pier Mirror for Drayton Hall
Late-18th-century-style pier mirror; walnut, basswood, and parcel-gilt; created in 2024–25 by Eli Wilner & Company for Drayton Hall Preservation Trust, Drayton Hall Museum Collection. The mirror was unveiled at the 2025 Charleston Show (March 21–23).
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As noted at Art Daily:
With assistance from their partial funding program for museums, Eli Wilner & Company recently completed the creation of a late 18th-century style pier mirror for Drayton Hall Preservation Trust. March has been another successful month for Eli Wilner & Company’s frame funding initiative, with $125,000 in partial grants having been distributed to date. Nearly $50,000 in funding is still available. Exciting new projects are being submitted on a daily basis by museums across the country. Remaining funds will be committed to new projects by 30 April 2025 and can be used for frame restoration, historic frame replication, or mirror replication projects. Interested institutions can apply by emailing the details of their reframing or frame restoration needs to info@eliwilner.com. No project is too large.
Patricia Lowe Smith, Drayton Hall’s Director of Preservation, initially contacted Wilner in the spring of 2024 about the potential project after they had discovered telltale marks on the original moldings surrounding the drawing room windows, indicating a lost pier mirror. Since no other documentation was found to provide the specifications or origin of the object, Wilner presented Drayton’s team with period-appropriate replacement options based on historical photographs and hand-tracings of Drayton’s walls.
The selected digital mockup was then printed to scale for Wilner’s master carpenters to begin construction of the walnut substrate and basswood blocks for the multiple hand carved elements. To get a better understanding of the depth proportions and construction methods that were not apparent in two-dimensional photographic images, they visited nearby institutions including the Metropolitan Museum of Art and the New-York Historical Society, and the Museum of the City of New York to examine similar objects.
After several months of woodworking and carving, the basswood portions of the frame were prepared with layers of finely sanded gesso and bole (a liquid clay) and watergilded. These delicate elements were then burnished and patinated to a period appropriate character. Meanwhile, the walnut substrate sections were stained. Finally in February 2025, following an in-person studio visit with members from Drayton Hall’s preservation team, all portions of the frame were fully secured into position, and the glass and hanging hardware was installed.
Eli Wilner & Company has completed over 15,000 framing projects for private collectors, museums, and institutions including The Metropolitan Museum of Art, the Smithsonian American Art Museum, and The White House. Wilner was honored by the Historic Charleston Foundation with the Samuel Gaillard Stoney Conservation Craftsmanship Award, for their work in historic picture frame conservation. In 2024, Eli Wilner was presented with an Iris Award for Outstanding Dealer of the Year by the Bard Graduate Center in New York City.
Journal18, Fall 2024 — Craft
The latest issue of J18 (I’m sorry to be slow with this one! –CH) . . .
Journal18, Issue #18 (Fall 2024) — Craft
Issue edited by Jennifer Chuong and Sarah Grandin
When, where, and why does craft matter? Craft, by definition, is any activity involving manual skill. But in the modern western world, the term typically implies specific kinds of activities that produce specific kinds of objects: things like baskets, lace, and lacquerware. In a culture that has historically privileged rationality and innovation, craft’s commitment to tradition, reliance on haptic knowledge, and association with marginalized subjects have rendered it the minor counterpart to more ‘serious’ forms of material production. As a subsidiary to art and industry, craft has often occupied a circumscribed role in accounts of modern art and modernity’s origins in the eighteenth century. Recently, however, craft—as a more capacious category of material production—has become a crucial term in efforts to expand and diversify the study of eighteenth-century art.
This special issue builds on recent investigations while considering how craft’s ancillary role within the Anglo-European tradition has limited its capacity to transform the field. Drawing inspiration from the absence of an art/craft divide in many cultures, we are interested in exploring craft’s potential to radically reframe, reconceptualize, and globalize the history of art.
a r t i c l e s
Elizabeth Eager — Labor, Leisure, and Lost Time in Eighteenth-Century Women’s Embroidery
Yve Chavez — Eighteenth-Century Loom and Basket Weaving at the California Missions
Hampton Smith — Insurgent Tooling and the Collective Making of Slave Revolts
Natalie E. Wright and Glenn Adamson — Encyclopædia Materia: Material Intelligence and Common Knowledge
Julie Bellemare, N. Astrid R. van Giffen, and Robert Schaut — Hot Tempered: Recreating a Lost Glass Recipe
Caroline Wigginton — Reading with Indigenous Form: Lucy Tantaquidgeon Tecomwas’s Moccasins (ca. 1767)
Ellen Siebel-Achenbach — Bookbinding in Eighteenth-Century Nuremberg: Reconstructing an Edge Plough from the Hausbücher der Nürnberger Zwölfbrüderstiftungen
All articles are available for free here, along with recent notes & queries:
r e c e n t n o t e s a n d q u e r i e s
Lytle Shaw — A Pirate Primer? Review of Stan Douglas: The Enemy of All Mankind
Sofya Dmitrieva — The Art Collection of the French Royal Academy of Painting and Sculpture: Notes on the Database
Jennifer Laffick — Lethière in Williamstown and Paris: A Transatlantic Exhibition Review
Kristina Kleutghen — Beijing to Dresden via St. Petersburg: An Early Qing Enameled Snuff Bottle in the Collection of Augustus II the Strong
Geoff Quilley — Lubaina Himid’s Naming the Money at the Entangled Pasts, 1768-now Exhibition, Royal Academy, London
Enfilade 
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