Print Quarterly, September 2026
Charles F. Greville, Title-Plate to the Set of Prints of the Portland Vase, 1786, etching and aquatint, 251 × 354 mm
(London: The British Museum)
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The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 43.3 (September 2026)
a r t i c l e s
• Georgii Titov, “Lost and Found: An Unpublished Woodcut by Pamvo Berynda,” pp. 235–45. In identifying the lower half of a 1629 woodcut, The Prison of The Holy Convicts, the author unfolds, “a revealing case study of how early modern prints circulated and were valued within imperial Russian collections” in the eighteenth and nineteenth centuries.
• Domenico Pino, “Filippo Morghen as Print Publisher in Naples: New Documents,” pp. 246–52. This article arises from the discovery of a small, dated letterpress catalogue of Filippo Morghen’s (1730–1807) production, preserved inside a bound copy of his print series Le Antichità di Pozzuoli, Baja e Cuma that surfaced at auction in Rome. Analysed in conjunction with an unpublished privilege application by Morghen, the new document sheds light on his printmaking, and, especially, on his highly prolific activity as a print-publisher in Naples. It significantly expands the limited archival material relating to the artist, including his known commissions, level of involvement and prices of his prints.
• Ann V. Gunn, “Charles F. Greville (1749–1809) and the Print Industry,” pp. 253–63. Gunn looks at the many ways an eighteenth-century gentleman, Charles F. Greville (1749–1809), interacted with the print industry. Through detailed examination of the sales catalogues of his various collections and correspondence, she demonstrates how his practical involvement in printmaking impacted other areas of his life and career, from disseminating visual knowledge of art, antiquarianism, minerology and horticulture to successfully introducing into Parliament an amendment and extension to the copyright law relating to prints and printmakers in 1777. A portion of the article recounts Greville’s campaign to have the Portland Vase and a painting previously attributed to Correggio engraved by Francesco Bartolozzi (1727–1815).
n o t e s a n d r e v i e w s
• Guido Scholten, Review of the exhibition catalogued ed. by Andreas Stolzenburg and Iris Wenderholm, Akte, Antike, Anatomie: Zeichnend die Welt erschliessen (Michael Imhof, 2024), pp. 281–83.
• Anthony Griffiths, Review of Martin Rose, Henry Winstanley, 1644–1703: The Last Renaissance Engineer. With a Catalogue Raisonné of His Prints (The Cygnet Press, 2024), p. 287.
• An Van Camp, Review of Vincent Wackenheim, La mort dans tous ses états: Modernité et esthétique des Danses macabres, 1785–1966 (L’Atelier contemporain, 2025), pp. 289–92.
• Timon Screech, Review of the exhibition catalogue by Alfred Haft, Hiroshige: Artist of the Open Road (British Museum Press, 2025), pp. 312–15.
The Magazine of the Decorative Arts Trust, Summer 2026
The Decorative Arts Trust has shared select articles from the summer issue of their member magazine as online articles for all to enjoy.
The Magazine of the Decorative Arts Trust, Summer 2026
• “A Nation of Artists: 250 Years of Creativity” by Alexandra Alevizatos Kirtley Link»
• “Workshop of the World: Arts and Crafts in Philadelphia” by David L. Barquist and Colin Fanning Link»
• “Window to Revolution: Pennsylvania Germans and the War for Independence” by Lisa Minardi, Emily Sneff, Christopher Malone, and Sarah Bowen Link»
• “Seeking Profit and Power: Philadelphia, China Trade, and the Making of America” by Peter Seibert Link»
• “Challenging Masterpieces: Art and Identity in American Furniture” by Josh Lane Link»
• “Radical Americana: 45 Artists and 25 Philadelphia-area Sites Celebrate the Semiquincentennial” by Jennifer Zwilling Link»
• “The Politics of Taste: The Presidential Houses of Virginia and Washington” by Amy Hudson Henderson Link»
• “The Work of the Edinburgh Upholstery Company at Hopetoun House” by Stephen Jackson Link»
• “Philip Trammel Shutze: Atlanta’s Consummate Collector” by Michael Rose Link»
• “Novel Nature: How a Maritime Byproduct Defined the Elite 17th-Century Interior” by Lauryn Smith Link»
The printed Magazine of the Decorative Arts Trust is mailed to Trust members twice per year. If you would like a print copy, click here to become a Trust member.
Pictured: The magazine cover shows a rare pickle stand featured in A Nation of Artists at the Philadelphia Museum of Art. Gousse Bonnin and George Anthony Morris founded the American China Manufactory in Philadelphia in 1770. Designed to serve pickled nuts and fruits during the dessert course of a meal, this small stand is made of more than 72 elements individually formed from a refined white clay called kaolin. The shells were molded from actual shells. Once assembled, the stand was then decorated with cobalt blue ornament, covered with a clear lead glaze, and fired at a high temperature. Bonnin and Morris’s ability to make soft-paste porcelain provided direct evidence that Americans could prosper without the assistance of Great Britain and its mercantile system, emboldening leaders such as Benjamin Franklin and Dr. Benjamin Rush. (American China Manufactory, Pickle Stand, 1770–72, Philadelphia. Soft-paste porcelain with underglaze blue decoration. 5 1/8 × 7 in. Philadelphia Museum of Art, Gift of a 7th-generation Philadelphian, 2014-166-1. Image courtesy of the Philadelphia Museum of Art.)
Print Quarterly, June 2026
With apologies for not posting this much sooner! –CH
The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 43.2 (June 2026)
a r t i c l e s
Attributed to Martin Tyroff, Crown Prince Frederick of Denmark and Norway, ca. 1740, pen and grey ink and grey wash, 152 × 101 mm (Augsburg, State and City Library of Augsburg).
• Victoria Fernandez, “On Conserving and Remounting the Edmond de Rothschild Collection at the Louvre,” pp. 158–68. This article examines the Louvre’s conservation campaign since 2016 to conserve and remount the roughly 35,000 prints and 865 drawings bequeathed by Baron Edmond de Rothschild (1845–1934), with respect to the stipulations mentioned in the deed of gift. The author also illustrates many unique findings and observations, including reattributions. Readers of Enfilade may be interested to know that part of the collection includes those that belonged to the donor’s father, Baron James de Rothschild (1792–1868), who owned the complete printed oeuvre of Daniel Nikolaus Chodowiecki (1726–1801).
• Karl-Georg Pfändtner, “Denmark’s Sea Trade: A Preparatory Drawing and Martin Tyroff’s Related Print,” pp. 169–72. This short article connects a drawing in the Staats- und Stadtbibliothek Augsburg with the engraved portrait of Crown Prince Frederick of Denmark and Norway (1723–66) by Martin Tyroff (1704–59). Crown Prince Frederick ascended the throne of Denmark and Norway in 1746. The print served as the frontispiece to a book of Martin Luther’s writings, Das Nutzbareste aus denen gesamten Erbaulichen Schriften Des seligen Herrn D. Martini Lutheri, published in 1740. Originally from Nuremberg, but active for years in Augsburg, Tyroff married the daughter of the Nuremberg engraver and publisher Christoph Weigel, and moved back to Nuremberg himself. The iconography highlights trade via Danish settlements in India and forts on the Danish Gold Coast, in present-day Ghana, as well as missionary activity there.
n o t e s a n d r e v i e w s
• Daan van Heesch, Review of Élisabeth Antoine-König and Pierre-Yves Le Pogam, eds., Figures du Fou. Du Moyen Âge aux Romantiques (Musée du Louvre and Éditions Gallimard, 2024), pp. 173–75.
• Richard Stephens, Review of François Marandet, Louis Chéron: L’ambition du dessin parfait (Musée des Beaux-Arts de Caen, 2021), pp. 183–85.
• Esther Chadwick, Review of Elizabeth Wyckoff and Sarah Weston, Blake (Yale Center for British Art, 2025), pp. 185–87.
• Thierry Depaulis, Review of Sara Benvenuti and Francesca Volpini, L’arte del gioco. Giochi antichi dalla Collezione Crippa della Raccolta Bertarelli di Milano (Silvana Editoriale, 2024), pp. 187–89.
• Ellis Tinios, Review of Hokusai’s Method (Thames and Hudson, 2024), pp. 189–90.
• Louis Marchesano, Review of Maxime Préaud, Louis le Grand, la terreur et l’admiration de l’univers. Les almanachs muraux publiés à Paris sous le règne personnel de Louis XIV (1661/1662–1715/1716) (Bibliothèque Nationale de France and Le Passage, 2023), pp. 203–07.
• Tim Clayton, 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. 208–12.
Journal18, Spring 2026 — Revolutions
Benjamin West, American Commissioners of the Preliminary Peace Negotiations with Great Britain, 1783–1820, oil on canvas, 72 × 92 cm (Winterthur Museum, Garden & Library).
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The latest issue from J18:
Journal18, Issue #21 (Spring 2026) — Revolutions
Issue edited by Wendy Bellion and Kristel Smentek
Published in alignment with the 250th anniversary of the United States Declaration of Independence, the three articles and four shorter re-presentations explore the material and visual cultures of this and subsequent eighteenth-century Atlantic revolutions: the French Revolution (1789–99), the Haitian Revolution (1791–1804), the United Irishmen’s Rebellion (1798), and the Latin American Wars of Independence (1808–26).
a r t i c l e s
Emily C. Casey — Revolution’s Ends: American War, Patriotism, and Culture in a Dilating Eighteenth Century
Matthew Gin — The Revolution’s Sanctuary: Designing the La Réole Temple of Reason, Year II
Monica Anke Hahn — Three-Fingered Jack: Staging Resistance in the Toy Theater
r e – p r e s e n t a t i o n s
Zara Anishanslin — Finding William Lee: A Black Founder in Early American Portraiture
Daniella Berman — Contingent Truths of the French Revolution: Representing the Abolition of Slavery of 1794
Firelei Báez in conversation with J. Cabelle Ahn — ‘My interventions project back what has been erased’
Thomas Crow — Jacques-Louis David at the Louvre with Keith Michael Baker, Jean-Paul Marat: Prophet of Terror: A Review
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Reflections on a Decade of Journal18
Virtual Event in the HECAA Great Conversations Series
7 May 2026, 9.30am PDT / 12.30pm EDT / 5.30pm BST
Join the Journal18 editorial team for a reflection on the creation and aims of J18 and how it has developed over time, as well as an open-ended discussion about future possibilities. We are excited to come together for conversation about a decade of J18 and to look ahead. Registration is available here.
Print Quarterly, March 2026
The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 43.1 (March 2026)
a r t i c l e s
Conrad Martin Metz, Frontispiece, from Imitations of Ancient and Modern Drawings Engraved and Published by C. M. Metz, 1789, etching and aquatint printed in colour, 360 × 256 mm (London, British Museum).
• Elania Pieragostini, “Conrad Martin Metz and his Imitations of Ancient and Modern Drawings,” pp. 14–26. This article examines the origins, development, and targeted audience of Conrad Martin Metz’s (1749–1827) decade-long project to reproduce drawings held in British collections, aiming to show how art developed over time, starting from Cimabue. Its programmatic introduction addresses key issues such as the disegno–colore debate, the preference for preliminary sketches and the differences between originals and copies. The author summarizes the various collections accessed by Metz, the techniques used to replicate the effects of drawn media, and his business operations and clientele. The project is further discussed in relation to similar print projects of the time.
• Dominika Cora, “New Facts about Russia’s Imperial Portrait Series, 1745–77,” pp. 36–43. This shorter notice discusses the chronology and publication of Johann Stenglin’s (1710/15–76) mezzotints depicting Russian emperors, one of his earliest commissions. The two appendices show how the prints were once believed to be published in six ‘sets’, and how they are organized now in accordance with the new research. The new findings also allow for the correct attribution of the monogram ‘AST’ found on the portraits of Peter the Great, Anna Petrovna, and Catherine I.
n o t e s a n d r e v i e w s
• Armin Kunz, Review of Bryony Bartlett-Rawlings and Naomi Lebens, eds., Placing Prints: New Developments in the Study of Print, 1400–1800 (Brill, 2025), pp. 44–47. Includes an essay by Donato Esposito on Joshua Reynolds’s print collection.
• Andrew Robison, Review of Felix Reuße, Hans Hubert, and Viktoria Gont, eds., Giovanni Battista Piranesi: Vedute di Roma (Städtische Museen Freiburg and Michael Imhof, 2024), pp. 63–65.
• Ellis Tinios, Review of Andreas Marks, Hiroshige’s One Hundred Famous Views of Edo: The Definitive Collector’s Edition (Tuttle Publishing, 2024), pp. 65–67.
• Gervase Rosser, Review of Erin Giffin, Early Modern Replicas of the Holy House of Loreto: Translating Space (Routledge, 2025), pp. 83–86.
• Ellis Tinios, Review of John Fiorillo, Hokuei: Master of Osaka Kabuki Prints (Ludion, 2024), pp. 86–89.
o b i t u a r y
David Bindman (1940–2025), pp. 76–77.
Journal18, Fall 2025 — Clean
The latest issue of J18:
Journal18, Issue #20 (Fall 2025) — Clean
Issue edited by Maarten Delbeke, Noémie Etienne, and Nikos Magouliotis
Cleaning is never a neutral act. In the eighteenth century, acts of cleaning became a way to decide what counted as disorder, to separate asserted purity from designated pollution, and to display authority over matter, space, and people. From the forecourt of Paris’s Notre-Dame to the Ganges river in Varanasi to Scotland’s filthy privies, practices of cleaning have shaped political order. Racial issues, colonization, and the management of public space revolved around the idea and implementation of cleaning, which could also involve the deliberate relocation or erasure of human beings.
a r t i c l e s
Economies of Waste: Revolutionary Administration and the Afterlives of the Kings of Notre-Dame — Demetra Vogiatzaki
‘Beneath the Waters of a Universal Ocean’: Containing, Contaminating, and Cleaning the Ganges River in Varanasi — Ushma Thakrar
Piss, Poison, and other Paths between Scotland and England in Caricature since 1745 — Laura Golobish
c o n v e r s a t i o n p i e c e
The Grammar of Cleaning: A Conversation — Maarten Delbeke, Noémie Etienne, and Nikos Magouliotis
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
Marie Antoinette Style: An Exhibition Catalogue Review — Madeleine Luckel
Room for the Lost Paradise: A Symposium — Jason M. Kelly
Reflections on Mai, Joshua Reynolds, and Eighteenth-Century Art — A Roundtable
Colonial Crossings: A Review — Juan Manuel Ramírez Velázquez
The Burlington Magazine, October 2025
The long 18th century in the October issue of The Burlington:
The Burlington Magazine 167 (October 2025)
Jean-Auguste-Dominique Ingres, Self-Portrait at the Age of Twenty-Four, 1804, revised 1850–51, oil on canvas, 77 × 61 cm (Musée Condé, Chantilly).
e d i t o r i a l
• “The Story of Art at 75,” p. 959.
Gombrich’s The Story of Art is seventy-five years old this year. Its clarity of conception and expression, civilised values, and the enormous benefits that have undoubtedly resulted from its publication should be a cause for continuing admiration and celebration.
a r t i c l e s
• Sylvain Bédard, “New Proposals about Ingres’s Self-Portrait at the Age of Twenty-Four,” pp. 982–93.
Of all the self-portraits painted by Jean-Auguste-Dominique Ingres, that of 1804 now in the Musée Condé, Chantilly, remains the most discussed. The focus of criticism when it was exhibited in 1806, the painting was taken up again and transformed by the artist during his old age. Here a revised sequence for these modifications is proposed and corrections are made to its earlier history.
• Emma Roodhouse, “Scraps of Genius, Taste and Skill: Works by John Constable in the Mason Album,” pp. 994–1001.
An album emerged at auction in 2020 and was acquired by Colchester and Ipswich Museums. It included hitherto unknown and very early works by John Constable and was compiled by the Mason family, the artist’s relatives in Colchester. These juvenilia are assessed here and placed in the context of Constable’s artistic evolution and his wide social circle.
• Edward Corp, “A Recently Identified Scottish Portrait of Bonnie Prince Charlie by Katherine Read,” pp. 1012–15.
There is a set of three portraits showing the exiled King James III (1701–66) and his two sons, Prince Charles Edward Stuart (1720–88) and Prince Henry Benedict Stuart, Cardinal Duke of York (1725–1807), which are here attributed to Katherine Read (1723–78) and were painted while she was living in Rome between 1750 and 1753. The paintings, which are all in a Somerset collection, have similar dimensions and are framed within painted stone ovals, which have chips and carvings; it seems evident that they were made to be displayed together.
r e v i e w s
• Hugh Doherty, Review of the exhibition catalogue La Rotonde de Saint-Bénigne: 1000 ans d’histoire, ed. by by Franck Abert, Arnaud Alexandre, and Christian Sapin (Faton, 2025), pp. 1033–35.
• Cloe Cavero de Carondelet, Review of the exhibition catalogue Tan lejos, tan cerca: Guadalupe de México en España, ed. by Jaime Cuadriello and Paula Mues Orts (Prado, 2025), pp. 1039–41.
• Elena Cooper, Review of Cristina Martinez and Cynthia Roman, eds., Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830 (Cambridge: Cambridge University Press, 2024), pp. 1052–53.
• Clive Aslet, Review of Juliet Carey and Abigail Green, eds., Jewish Country Houses (Brandeis University Press, 2024), pp. 1056–57.
o b i t u a r y
• Colin Thom, Obituary for Andrew Saint (1957–2024), pp. 1059–60.
A longstanding editor for the Survey for London, an astute architectural scholar, and a personable educator, Andrew Saint effortlessly combined many skills. His time as a professor in the University of Cambridge’s Department of Architecture shaped numerous future careers, and his contributions to the Survey enriched the history of London’s urban fabric.
The Burlington Magazine, September 2025
Canaletto, Cappriccio: The Ponte della Pescaria and Buildings in the Quay, Showing Zecca on the Right, 1744(?), oil on canvas, 84 × 130 cm
(Royal Collection Trust, © His Majesty King Charles III 2025)
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The long 18th century in the September issue of The Burlington:
The Burlington Magazine 167 (September 2025) | Italian Art
a r t i c l e s
• Gregorio Astengo and Philip Steadman, “Canaletto’s Use of Drawings of Venetian Buildings by Antonio Visentini,” pp. 896–905.
The use by Canaletto of measured drawings by Antonio Visentini and his assistants is fully considered here for the first time. He ingeniously utilised them at different points in his career to provide images of buildings in both his ‘vedute’ and ‘capricci’. This creative borrowing was possible because both painters formed part of the same successful network of artists, scientists, and patrons.
r e v i e w s
• Philippe Bordes, Review of the exhibition Duplessis (1725–1802): The Art of Painting Life / L’art de peindre la vie (Inguimbertine, Carpentras, 2025), pp. 924–27.
• Colin Bailey, Review of Katie Scott and Hannah Williams, Artists’ Things: Rediscovering Lost Property from Eighteenth-Century France (Getty Research Institute, 2024), pp. 946–48.
• Karl-Georg Pfändtner, Review of Olivier Bosc and Sophie Guérinot, eds., L’Arsenal au fil des siècles: De l’hôtel du grand maître de l’Artillerie à la bibliothèque de l’Arsenal (Le Passage / BNF, 2024), pp. 951–52.
• Timothy Revell, Review of Lieke van Deinsen, Bert Schepers, Marjan Sterckx, Hans Vlieghe, and Bert Watteeuw, eds., Campaspe Talks Back: Women Who Made a Difference in Early Modern Art (Brepols: 2024), pp. 952–53.
• Jonathan Yarker, Review of Katherine Jean McHale, Ingenious Italians: Immigrant Artists in Eighteenth-Century Britain (Brepols, 2024, p. 953.
• Conal McCarthy, Review of Deidre Brown, Ngarino Ellis, and Jonathan Mane-Wheoki, Toi Te Mana: An Indigenous History of Māori Art (University of Chicago Press, 2025), pp. 953–54.
Print Quarterly, September 2025
David Lucas, after John Constable, A Mill, 1829, mezzotint, 182 × 250 mm
(Cambridge, Fitzwilliam Museum, inv. P.145-1954)
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The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 42.3 (September 2025)
a r t i c l e s
• Elenor Ling and Harry Metcalf, “John Constable’s Working Relationship with David Lucas on the English Landscape Series,” pp. 272–85. This article examines the collaborative partnership between John Constable (1776–1837) and his engraver David Lucas (1802–81) using the mezzotint print series English Landscape as a case study, based particularly on the technical examination of various impressions and plates.
• Niklas Leverenz, “Lithographs from Shanghai of the East Turkestan Engravings, 1890,” pp. 301–06. This short article examines the popularity of the East Turkestan engravings depicting the 1755–60 Qianlong Emperor’s conquest. Leverenz specifically discusses a set of 34 photolithographs printed in 1890 by the photographer Herman Salzwedel (active c. 1877–1904) in Shanghai.
n o t e s a n d r e v i e w s
Claude Gillot, The Speculator Raised by Fortune to the Highest Degree of Wealth and Abundance, 1710–11, counterproof of engraving, with additions in red chalk, 255 × 220 mm (Paris, Private collection).
J.-Louis Darcis, after Guillaume Lethière, Portrait of Jean Jacques Rousseau, 1795, engraving, platemark 355 × 305 mm, page 440 × 320 mm (Paris, Bibliothèque Nationale de France).
• Dagmar Korbacher, Review of Andaleeb Badiee Banta, Alexa Griest and Theresa Kutasz Christiensen, eds., Making Her Mark: A History of Women Artists in Europe, 1400–1800 (Goose Lane Editions, 2023), pp. 307–10.
• Daniel Godfrey, Review of Gwendoline de Mûelenaere, Early Modern Thesis Prints in the Southern Netherlands: An Iconological Analysis of the Relationship between Art, Science, and Power (Université Catholique de Louvain, 2022), pp. 310–12.
• Meredith M. Hale, Review of Julie Farguson, Visualising Protestant Monarchy: Ceremony, Art and Politics after the Glorious Revolution, 1689–1714 (The Boydell Press, 2021), pp. 313–15.
• Rena M. Hoisington, Review of Jennifer Tonkovich, Claude Gillot: Satire in the Age of Reason (Paul Holberton, 2023), pp. 315–17.
• Michael Snodin, Review of Orsola Braides, Giovanni Maria Fara, and Alessia Giachery, eds., L’arte di tradurre l’arte: John Baptist Jackson incisore nella Venezia del Settecento (Leo S. Olschki, 2024), pp. 317–19.
• Benito Navarrete Prieto, Review of Ana Hernández Pugh and José Manuel Matilla, Del lapicero al buril. El dibujo para grabar en tiempos de Goya (Museo del Prado, 2023), pp. 320–24.
• Giorgio Marini, Review of Ilaria Miarelli Mariani, Tiziano Casola, Valentina Fraticelli, Vanda Lisanti, and Laura Palombaro, eds., La storia dell’arte illustrata e la stampa di traduzione tra il XVIII e il XIV secolo (Campisano Editore, 2022), pp. 324–28.
• Julie Mellby, Review of Roberta J. M. Olson, Audubon as Artist: A New Look at The Birds of America (Reaktion Books, 2024), pp. 328–29.
• Thea Goldring, Review of Esther Bell and Olivier Meslay, eds., Guillaume Lethière (Clark Art Institute, 2024), pp. 347–52.
Journal of the History of Collections, July 2025
The long eighteenth century in the latest issue:
Journal of the History of Collections 37.2 (July 2025)
a r t i c l e s
• Christian Huemer and Tom Stammers, “Perspectives on the Study of the Art Market,” pp. 215–20.
As interest in art-market studies continues to grow, the editorial team of the Journal of the History of Collections decided to interview Christian Huemer, director of the Belvedere Research Center in Vienna, and editor of the Brill series Studies in the History of Collecting & Art Markets; and Tom Stammers, who is leading the new MA in Art and Business at the Courtauld Institute of Art in London, to find out more about the subject and how it does and does not overlap with the study of collecting.
Jean-Honoré Fragonard, Girl Reading a Book, ca. 1770s, oil on canvas (London: The Wallace Collection).
• Yuriko Jackall, “French Art / English Taste: Richard Wallace’s Fragonards,” pp. 269–82.
Although an active collector of a broad range of objects, Sir Richard Wallace is more commonly known for his taste in nineteenth-century pictures, arms and armour, Renaissance maiolica and Kunstkammer objects than for his interest in eighteenth-century French painting. Nonetheless, he did add two significant works by Jean-Honoré Fragonard, Girl Reading a Book and A Boy as Pierrot, to the large and distinguished collection of rococo art that he had inherited from his supposed father, the 4th Marquess of Hertford. This paper focuses on these two acquisitions, and suggests that their purchase represents a calculated move by Wallace to enhance the existing holdings of his collection. By adding these two paintings, he sought not only to augment the art-historical value of the collection that it was now his responsibility to shepherd, but also to improve its appeal within the context of late nineteenth-century British taste.
• Ollie Croker, “The Architect as Agent: Charles Heathcote Tatham at Woburn Abbey and Castle Howard,” pp. 359–72.
The acquisition of Classical antiquities by the British nobility in the late eighteenth and early nineteenth centuries occurred within a complex social network. While the activities of prominent figures within this network have been well documented, those of lesser-known agents remain overlooked. This discussion focuses on Charles Heathcote Tatham (1772–1842), an architect involved in acquiring vases and sculptures for display at Woburn Abbey and Castle Howard. Acquisitions for both houses coincide with Tatham’s work designing galleries for these two estates. This suggests a means of collecting that has been less often studied: an architect is commissioned to acquire objects specifically for the interior decoration of his own architectural creations. Tatham’s dual role as architect and agent raises questions about the nature of these acquisitions, and the cultural associations his clients aimed to establish.
r e v i e w s
• Wu Yunong, Review of Becky MacGuire, Four Centuries of Blue and White: The Frelinghuysen Collection of Chinese and Japanese Export Porcelain (Ad Ilissvm, 2023), pp. 391–92.
• Adriana Turpin, Review of Ulrike Müller, Private Collectors in Brussels, Antwerp, and Ghent, ca.1780–1914: Between Public Relevance and Personal Pleasure (Brepols, 2024), pp. 392–94.
• Marjorie Schwarzer, Review of Jonathan Conlin, The Met: A History of a Museum and its People (Columbia University Press, 2024), pp. 394–96.
• Jonathan Conlin, Review of Erica Ciallela and Philip Palmer, eds., Belle da Costa Greene: A Librarian’s Legacy (DelMonico Books, 2024) and Vanessa Sigalas and Jennifer Tonkovich, eds., Morgan―The Collector: Essays in Honor of Linda Roth’s 40th Anniversary at the Wadsworth Atheneum Museum of Art (Arnoldsche Verlagsanstalt, 2023), pp. 396–97.
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