Enfilade

Susan Tallman on Art History’s Loose Canons

Posted in books, reviews, site information by Editor on September 18, 2020

Willem van Haecht, Apelles Painting Campaspe, ca. 1630 (The Hague: Mauritshuis). Used as an illustration for Susan Tallman’s review in The New York Review of Books (24 September 2020).

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Note from the Editor

Thanks to all of you for your patience with postings that have grown far more irregular than I would have liked. My family and I have been well, though admittedly, diligence (generally) hasn’t been quite the virtue it was for me prior to COVID. I have good intentions of eventually resuming the regular rate of posts (more or less), though getting there may take some time (pandemic obviously continues to make regular parts of life, including teaching, more complicated). One realization I’ve had over the past few months: I’m much less excited generally about Enfilade in the absence of exhibitions. I don’t actually make it to that many exhibitions in a given year, a fraction of those listed on the site. And yet, exhibitions generate for me (even vicariously) lots of intellectual energy. To all of you who do that work in and with museums, I’m more grateful than ever. Thank you.

I experienced, however, a similar jolt of stimulation while reading the most recent issue of The New York Review of Books (24 September 2020). I love Susan Tallman’s review of Christopher Wood’s A History of Art History (Princeton UP, ) and Éric Michaud’s The Barbarian Invasions: A Genealogy of the History of Art (MIT Press, 2019). In addition to working as an engaging review, Tallman’s piece (“Who Decides What’s Beautiful?,” pp. 16–20) is one of the most concise, satisfying summaries of art history as a discipline I know of—effectively framing the discipline in relation to the ethical and moral stakes of this particular moment in time. Enfilade readers will likely find other reviews from the issue also of interest:

• David Bell on Maurice Samuels’s The Betrayal of the Duchess: The Scandal That Unmade the Bourbon Monarchy and Made France Modern (Basic Books, 2020).

• Kathryn Hughes on new studies of Wordsworth.

• Larry Wolff on Thomas Irvine’s Listening to China: Sound and the Sino-Western Encounter, 1770–1839 (University of Chicago Press, 2020).

• Leah Price on Anthony Grafton’s Inky Fingers: The Making of Books in Early Modern Europe (Belknap/Harvard UP, 2020) and Jordan Alexander Stein’s When Novels Were Books (Harvard UP, 2020).

Craig Hanson

 

Print Quarterly, June 2020

Posted in books, journal articles, reviews by Editor on June 20, 2020

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 37.2 (June 2020)

Rembrandt van Rijn, Portrait of Jan Six, 1647, etching, engraving, and drypoint, 244 × 191mm (Amsterdam: Rijksprentenkabinett).

A R T I C L E S

Antoinette Friedenthal, “Sketched, Not Etched: Jan Six and the Mariettes’ Rembrandt Oeuvre for Prince Eugene of Savoy,” pp. 140–51.

This article considers the compilation of the Rembrandt album originally produced for Prince Eugene of Savoy (1663–1736). Particular emphasis is placed on the attempts to procure a rare impression of Rembrandt’s Portrait of Jan Six. Reference to the correspondence of Jean Mariette (1660–1742) and Pierre Jean Mariette (1694–1774) on the matter and their draft catalogue reveals that the Prince’s etched Portrait of Jan Six is, in fact, a drawn copy after the print. This in turn serves to support the proposal that the Prince of Savoy’s Rembrandt album is not held in Dresden as previously thought, but instead in the Albertina in Vienna.

N O T E S  A N D  R E V I E W S

Helmut Gier, Review of New Hollstein German Engravings, Etchings, and Woodcuts, 1400–1700: Johann Ulrich Kraus, Parts I–V, (2018–19), pp. 180–83.

The note provides an overview of the five New Hollstein volumes that bring together the corpus of Johann Ulrich Kraus (1655–1719). A prodigious printmaker and publisher, Kraus’s diverse output included commissions for various European courts, book illustrations, architectural treatises, and portraits. He is notable for sensitivity to, and amalgamation of, the latest French, Italian, Dutch, and German artistic trends.

Giorgio Marini, Review of Elisabetta Rizzioli, L’Officina di Leopoldo Cicognara: La Creazione delle Immagini per la ‘Storia della Scultura’ (2016), pp. 184–87.

Rizzioli’s book focuses on the art theorist and critic Francesco Leopoldo Cicognara (1767–1834), who “played a crucial role in the promotion of the arts from the Neoclassical period to the 1814–15 Congress of Vienna, relying on an international artistic community to which Antonio Canova (1757–1822) had introduced him.”

P U B L I C A T I O N S  R E C E I V E D

Antonia Dosen, Dubravka Botica, Anamarija Stepanić, Andelika Galić, and Petra Milovac, eds., Architecture and Performance: Prints from the Cabinet of Louis XIV in the MUO Holdings, exhibition catalogue (Zagreb: Museum of Arts and Crafts, 2016), p. 204.

“With parallel Croatian and English texts, the well-illustrated Architecture and Performance is dedicated to three groups of prints that were part of the so-called Cabinet du Roi . . . the three volumes dedicated to the Louvre, the Tuileries, Versailles and the royal festivals.”

The Burlington Magazine, March 2020

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on March 30, 2020

The eighteenth century in The Burlington:

The Burlington Magazine 162 (March 2020) — Drawings

Luigi Valadier, Pyx, 1769–71, gilt silver, 22 × 11 cm, one of eighteen pieces of a pontifical mass service belonging to the cathedral of Portalegre, Portugal (Church of S. Miguel, Castelo Branco).

A R T I C L E S

• Teresa Leonor M. Vale “A Portuguese Bishop’s Pontifical Mass Service by Luigi Valadier,” pp. 196–203. A gilt silver pontifical mass service belonging to the cathedral of Portalegre, Portugal, is here identified as the work of the celebrated Roman silversmith Luigi Valadier and dated 1769–71. It is closely similar to a contemporary service owned by Cardinal Domenico Orsini and both services can be linked to a group of drawings from Valadier’s workshop.

S H O R T E R  N O T I C E S

Kee Il Choi, Jr., “Ornament from China: Sources for a Garden Folly Design by Jean-Jacques Lequeu,” pp. 216–19.

R E V I E W S

• Kirstin Kennedy, Review of Carolina Naya Franco, Joyas y alhajas del Alto Aragón: esmaltes y piedras preciosas de ajuares y tesoros históricos (2018).

• Stéphane Loire, Review of Nicola Spinosa, ed., Francesco Solimena (1657–1747) e le Arti a Napoli (2018).

• Aileen Dawson, Review of Claudia Bodinek (with contributions by Peter Braun, Tobias Pfeifer-Helke und Claudia Schnitzer), Raffinesse im Akkord: Meissener Porzellanmalerei und ihre Grafischen Vorlagen (2018).

• David Bindman, Review of the exhibition Canova Thorvaldsen: The Birth of Modern Sculpture (Milan: Gallerie d’Italia, 2019–20).

• Daniel Stewart, Review of the exhibition Troy: Myth and Reality (London: British Museum, 2019–20).

• Christiane Elster, Review of the exhibition History in Fashion: 1500 Years of Embroidery in Fashion (Leipzig: GRASSI Museum of Applied Arts, 2019–20).

• Philippa Glanville, Review of the exhibition Feast and Fast: The Art of Food in Europe, 1500–1800 (Cambridge: Fitzwilliam Museum, 2019–20)

• Kamila Kocialkowska, Review of the exhibition Peter the Great: Collector, Scholar, Artist (Moscow Kremlin Museums, 2019–20).

• Eckart Marchand, Review of the exhibition Near Life: The Gipsformerei: 200 Years of Casting Plaster (Berlin: James-Simon-Galerie, 2019–20).

Print Quarterly, March 2020

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on March 10, 2020

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 37.1 (March 2020)

Antoine Trouvain and Pierre Lepautre after Bon Boullogne, Thesis Print of François Bourgarel for Mathematics, 1695, engraving, top 336 x 540 mm, bottom 462 x 540 mm (Paris, Bibliothèque Nationale de France).

N O T E S  A N D  R E V I E W S

• John Roger Paas, Review of Simon Turner, ed., The New Hollstein German Engravings, Etchings, and Woodcuts, 1400–1700: Johann Stridbeck the Elder and the Younger, compiled by Dieter Beaujean and based on the research material of Josef H. Biller, parts 1–4 (Ouderkerk aan den IJssel: Sound & Vision Publishers, 2018), pp. 72–73.

The fact that artists are prolific and find a market in their lifetime is no guarantee that their work will enjoy critical acclaim in the long run or be avidly sought after by collectors. Such is the case of the Stridbecks, Johann the Elder (1641–1716) and Johann the Younger (1666–1714), Augsburg printmakers active from the late seventeenth century to the second decade of the eighteenth. . . . [But] their prints help to give us a deeper understanding of the print market and of public taste at the time, and we are fortunate that the more than a thousand prints of the Stridbecks have now been carefully collected and catalogued.

• Louis Marchesano, Review of Véronique Meyer, Pour la plus grand gloire du roi: Louis XIV en theses (Rennes: Presses Universitaires de Rennes, 2017), pp. 73–75.

This book provides an insightful account of the thesis print phenomenon by focusing on prints dedicated to the French king. It explores the function of these prints in the candidate’s life at university and outside, the production, reception and diffusion of the sheets and analyses the king’s image and its evolution in the period from his birth in 1638 to his death in 1715.

• Niklas Leverenz, “Isidore-Stanislas Helman and J. Pélicier,” pp. 75–76.

This short note focuses on a recently discovered signature of J. Pélicier on the proof state of a 1787 print previously attributed to Isidore-Stanislas Helman (1742–1809). This evidence suggests that Helman must have relied on a team of etchers for his large body of work, unusually allowing some of them to put their name on the plates.

P U B L I C A T I O N S  R E C E I V E D

• Who is Who Chez les Colbert? La collection d’estampes de Joseph de Colbert, exhibition catalogue (Sceaux: Musée du Domaine départemental de Sceaux / Ghent: Éditions Snoeck, 2019), p. 96.

• Sandra Pisot, ed., Goya, Fragonard, Tiepolo: Die Freiheit der Malerei, exhibition catalogue (Hamburg: Hamburger Kunsthalle / Munich: Hirmer Verlag, 2019), p. 96.

• Laurent Baridon, Jean-Philippe Garric, and Martial Guédron, eds., Jean-Jacques Lequeu: Bâtisseur des Fantasmes, exhibition catalogue (Paris: Petit Palais, Bibliothèque Nationale de France / Éditions Norma, 2018), p. 97.

J. Pélicier, Emperor Qianlong Welcoming the Elderly Citizens of his Empire for a Celebration in their Honour, 1787, etching, 303 x 428 mm (Private Collection).

Journal for Eighteenth-Century Studies, March 2020

Posted in books, journal articles, reviews by Editor on March 6, 2020

In the latest issue of the Journal for Eighteenth-Century Studies:

Journal for Eighteenth-Century Studies 43.1 (March 2020).

A R T I C L E S

• Amanda Vickery, “Branding Angelica: Reputation Management in Late Eighteenth‐Century England,” 3–24.
• Alberto del Campo Tejedor, “The Barber of Enlightened Spain: On the Politics and Practice of Grooming a Modern Nation,” pp. 25–42.
• Ana Sáez‐Hidalgo, “Anglo‐Spanish Enlightenment: Joseph Shepherd, an English ‘ilustrado’ in Valladolid,” pp. 46–60.
• Robert W. Jones, “Elizabeth Sheridan’s Post‐Celebrity,” pp. 61–78.
• Jonathan Taylor, “‘Who Bravely Fights, and Like Achilles Bleeds’: The Ideal of the Front‐Line Soldier during the Long Eighteenth Century,” pp. 79–100.

E D I T E D  M A N U S C R I P T S

• Jessica Wen Hui Lim, “Barbauld’s Lessons: The Conversational Primer in Late Eighteenth‐Century British Children’s Literature,” 101–20.

R E V I E W S

• Madeleine Pelling, Review of Susanna Avery‐Quash and Kate Retford, eds., The Georgian London Town House: Building, Collecting and Display, pp. 121–22.
• Megan Kitching, Review of Keith Michael Baker and Jenna Gibbs, eds., Life Forms in the Thinking of the Long Eighteenth Century, pp. 122–24.
• Charlotte Fletcher, Review of Barbara Burman and Ariane Fennetaux, The Pocket: A Hidden History of Women’s Lives, 1660–1900, pp. 124–25.
• Hannah Hutchings‐Georgiou, Review of Andrew Carpenter, ed., The Poems of Olivia Elder, pp. 125–26.
• Thomas Lalevée, Review of Gabriel Galice and Christophe Miqueu, eds., Rousseau, la république, la paix: actes du colloque du GIPRI (Grand‐Saconnex, 2012), pp. 126–28.
• Helen Metcalfe, Review of Sally Holloway, The Game of Love in Georgian England: Courtship, Emotions, and Material Culture, pp. 128–29.
• Olive Baldwin Thelma Wilson, Review of Berta Joncus, Kitty Clive, or The Fair Songster, pp. 129–31.
• Joachim Whaley, Review of Claudia Keller, Lebendiger Abglanz: Goethes Italien‐Projekt als Kulturanalyse, pp. 131–32.
• Ben Wilkinson‐Turnbull, Review of A. C. Elias, John Irwin Fischer, and Panthea Reid, eds., Jonathan Swift’s Word‐Book: A Vocabulary Compiled for Esther Johnson and Copied in Her Own Hand, pp. 132–33.
• Max Skjönsberg, Review of Margaret Watkins, The Philosophical Progress of Hume’s Essays, pp. 133–35.

The Burlington Magazine, February 2020

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on February 28, 2020

The eighteenth century in The Burlington:

The Burlington Magazine 162 (February 2020) — Northern European Art

Anton von Maron, Portrait of Johann Joachim Winckelmann, 1767, oil on canvas, 136 × 99 cm (Weimar: Stadtschloss).

E D I T O R I A L

• “The National Trust at 125,” p. 87.

A R T I C L E S

• Gauvin Alexander Bailey, “A Bavarian Pilgrimage Shrine in Seventeenth-Century Paraguay,” pp. 115–25. The Jesuit priest Anton Sepp was one of the first Germanic missionaries to be admitted to the Spanish territories in South America. Arriving in 1691, he brought with him a copy of the miracle-working sculpture of the Virgin of Altötting in Bavaria, and in 1697 he emphasised the German character of his mission by commissioning a version of the octagonal chapel in which the original was housed.

• Clare Hornsby, “J. J. Winckelmann and the Society of Antiquaries of London: New Documents,” pp. 126–35. Three new documents in the archive of the Society of Antiquaries, published here for the first time, provide evidence about Winckelmann’s aspirations for promoting his works in antiquarian circles in England. They include the first statement in English of his theory of art history, written in 1761.

R E V I E W S

• Arthur Wheelock, Review of the exhibition De Wind is Op!: Climate, Culture and Innovation in Dutch Maritime Painting (New Bedford Whaling Museum, 2019–20), pp. 150–52.

• Olivier Bonfait, Review of Gaëtane Maës, De l’expertise artistique à la vulgarisation au siècle des Lumières: Jean-Baptiste Descamps (1715–1791) et la peinture flamande, hollandaise et allemande (Brepols, 2016), pp. 171–72.

• Anna Arabindan Kesson, Review of Sarah Thomas, Witnessing Slavery: Art and Travel in the Age of Abolition (Yale University Press, 2019), pp. 172–74.

 

The Burlington Magazine, December 2019

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on December 23, 2019

The eighteenth century in The Burlington:

The Burlington Magazine 161 (December 2019)

A R T I C L E S

• François Marandet, “A Modello by James Thornhill for Addiscombe House, Surrey,” pp. 1028–33. An oil sketch in the Musée des Beaux-Arts, Rouen, is here identified as James Thornhill’s modello for the ceiling painting of the staircse hall at Addiscombe House, near Croyden, begun c.1702 and demolished in the 1860s. It depicts the classical gods as an allegory of the days of the week.

R E V I E W S

• Charles Avery, Review of the exhibition Forged in Fire: Bronze Sculpture in Florence under the Last Medici (Palazzo Pitti, 2019–20), pp. 1044–47.

• David Bindman, Review of the exhibition, Hogarth: Cruelty and Humor (Morgan Library and Museum, 2019), pp. 1047–48.

• Brian Allen, Review of the exhibition Hogarth: Place and Progress (Sir John Soane’s Museum, 2019–20), pp. 1048–51.

• Emily M. Weeks, Review of the exhibition Inspired by the East: How the Islamic World Influenced Western Art (British Museum, 2019–20), pp. 1051–53.

• Xavier F. Salomon, Review of the exhibition Luigi Valadier: Splendour in Eighteenth-Century Rome (Galleria Borghese, 2019–20), pp. 1053–55.

• Clare Hornsby, Review of Robin Simon and MaryAnne Stevens, eds., The Royal Academy of Arts: History and Collections (Yale University Press, 2018) and Nicholas Savage, Burlington House: Home of the Royal Academy of Arts (Royal Academy of Arts, 2018), pp. 1060–61.

• Jörg Zutter, Review of Chris Fischer, Venetian Drawings: Italian Drawings in the Royal Collection of Graphic Art (Statens Museum fur Kunst, National Gallery of Denmark, 2018), p. 1064.

• Thomas Stammers, Review of Charlotte Guichard, La griffe du peintre: La valeur de l’art, 1730–1820 (Seuil, 2018), pp. 1066–67.

• Richard Stephens, Review of Wayne Franits, Godefridus Schalcken: A Dutch Painter in Late Seventeenth-Century London (Amsterdam University Press, 2018), p. 1074.

O B I T U A R Y

• Anthony Geraghty, Kerry Downes (1930–2019), p. 1075.

Print Quarterly, December 2019

Posted in books, exhibitions, journal articles, reviews by Editor on December 4, 2019

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 36.4 (December 2019)

Étienne Fessard and Augustin de Saint-Aubin, after Charles Natoire, Gaetano Brunetti, and Paolo Antonio Brunetti, Perspective View of the Chapel of Enfants Trouvés in Paris, 1759, etching and engraving, sheet (trimmed) 80 × 59 cm (New York, Metropolitan Museum of Art).

A R T I C L E S

Rena M. Hoisington, “Étienne Fessard’s Prints of the Chapel of the Hôpital des Enfants Trouvés in Paris,” pp. 404–25.

Soon after Charles Natoire (1700–1777) completed his cycle of paintings for the Chapel of the Hôpital des Enfants Trouvés in Paris, Fessard announced a subscription plan for a series of prints reproducing them. Often addressed merely for their documentary value, these prints are here analysed as objects in themselves. The article explores their complex publication history and assesses them in the context of Fessard’s career. Also analysed is the series’ repercussion on the reputation of the artists involved in their realization, Natoire included.

N O T E S  A N D  R E V I E W S

Colin Harrison, Review of Peter Whitfield, Oxford in Prints: 1675–1900 (Bodleian Library, 2016), p. 448.

The book explores how Oxford has been pictured between 1675 and 1922 by illustrating a selection of volumes in the collection of the Bodleian Library. The largest group consists of almanacks printed by the University, which took their definitive format of a topographical headpiece with a calendar beneath in the early eighteenth century.

Jean Michel Massing, Review of Cheryl Finley, Committed to Memory: The Art of the Slave Ship Icon (Princeton University Press, 2018), p. 484–88.

The book “focuses on the life, and afterlife, of  famous anti-slavery icon,” the 1788 engraved Plan of an African Ship’s lower Deck with Negroes in the proportion of only one to a Ton (484). Part One “considers abolitionist slave ship prints from the period 1788 to 1900; the remainder of the book is devoted to their stature as an icon reappropriated by twentieth-century African American, British and African artists” (488).

P U B L I C A T I O N S  R E C E I V E D

Mungo Campbell and Nathan Flis, eds., William Hunter and the Anatomy of the Modern Museum, exhibition catalogue (Yale Center for British Art, and The Hunterian, University of Glasgow, in association with Yale University Press, 2018), p. 472.

The Burlington Magazine, August 2019

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on September 9, 2019

The August issue of The Burlington was especially rich for the eighteenth century; apologies for not posting it much sooner, but it’s worth noting. CH

The Burlington Magazine 161 (August 2019)

E D I T O R I A L

• “At the Yale Center for British Art,” p. 619. At the end of June Amy Meyers stepped down as Director of the Yale Center for British Art, New Haven, after seventeen years.

A R T I C L E S

• Sam Rose, “Peer Review in Art History,” pp. 621–25. A more recent development than is often realized, and historically imposed in a variety of ways, peer review is a fundamental but rarely discussed aspect of academic life. What impact does it have on publishing in art history?

• Alexander Echlin, “Was Lord Burlington a Jacobite?,” pp. 626–37. A thesis first put forward thirty years ago that Lord Burlington was a Jacobite, who used buildings and gardens to express his clandestine views, has won a measure of support. However, the biographical evidence is circumstantial and the architectural evidence is so ambiguous that it cannot sustain the argument.

• Gauvin Alexander Bailey, “Buenos Aires Cathedral in the Eighteenth Century,” pp. 638–47. Greatly altered in the early eighteenth century, the original appearance of the interior of Buenos Aires Cathedral, designed by Antonio Masella and completed by Manuel Álvarez de Rocha in 1771, is here reconstructed from newly identified visual sources, a watercolour of c.1830 and nineteenth-century photographs.

• Alexandra Gajewski and Michael Hall, “The Fate of Notre-Dame, Paris,” pp. 648–52. The first at Notre-Dame in April destroyed its largely medieval roof and the flèche designed by Violeet-le-Duc as well as badly damaging the vaults. Plans for repairs depend on an assessment of the long-term structural damage to the cathedral, despite which a five-year timetable for the restoration has been imposed by President Macron and a competition for a replacement flèche initiated.

• Giovan Battista Fidanza, “New Evidence for the ‘Barberini Apostles’ by Andrea Sacchi and Carlo Maratti,” pp. 653–59. Unpublished documents in the Barberini Archives in the Vatican Library clarify the patronage, authorship, and dating of a celebrated series of nine paintings of the Apostles commissioned from Andrea Sacchi and Carlo Maratti by Cardinals Antonio Barberini the Younger and Carlo Barberini.

R E V I E W S

• Simon Lee, Review of the exhibitions The Majesties’ Retiring Room and A Painting for a Nation: The Execution of Torrijos (Prado, 2019), pp. 673–76.

• John Bold, Review of Matthew Walker, Architects and Intellectual Culture in Post-Restoration England (Oxford University Press, 2017), pp. 688–89.

• Anthony Colantuono, Review of Claire Farago, Janis Bell and Carlo Vecce, The Fabrication of Leonardo da Vinci’s ‘Trattato della pittura’ (Brill, 2018), pp. 693–95.

• Sandra Miller, Review of Valerie Steele, ed., Pink: The History of a Punk, Pretty, Powerful Colour (Thames & Hudson, 2018), pp. 701–02.

Print Quarterly, September 2019

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on September 2, 2019

James Gillray, New Morality; – or – The Promis’d Installment of the High-Priest of the Theophilanthropes, with the Homage of Leviathan and his Suite, 1798, hand-colored etching, 8 × 24 inches (New Haven: Yale Center for British Art, Paul Mellon Collection, B1981.25.1001). 

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The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 36.3 (September 2019)

A R T I C L E S

Allison M. Stagg, “William Cobbett, James Gillray and the Market for Caricatures in 1790s Philadelphia,” pp. 263–74.

In the decades immediate following the American Revolution (1775–83), caricature prints were imported from London to cities along the east coast of North America. Evidence of a transatlantic transfer of British satirical imagery can be found in the numerous advertisements published in American newspapers from this period. Despite the frequency with which caricatures are mentioned in newspapers, few details can readily be discerned from them. The advertisements primarily reference the general arrival of collections of British caricature prints, usually as an addendum to other imported items such as books, stationery and even clocks, and provide little to no mention as to what specific caricatures crossed the Atlantic (263) . . . Details found in documents dating from the last decade of the eighteenth century, however, allow for a more thorough examination of the availability of and interest in imported and American caricatures in Philadelphia in the late 1790s. The primary source is an account book in the collection of the American Antiquarian Society in Worcester, MA, of the famous British radical, polemicist and publisher William Cobbett (1763–1835), who took refuge in American in 1793 (264).

N O T E S  A N D  R E V I E W S

Truusje Goedings, Review of Wolf Eiermann, Claudia Steinhardt-Hirsch and Eckhard Leuschner, Prachtvoll illuminirt: Das Handkolorit in der Druckgrafik, 1493–1870 (Hirmer Verlag, 2018), pp. 304–06.

Neglected for a long time, the hand-colouring of prints, book illustrations and maps has been the subject of serious research during the last three decades, resulting in major exhibitions with comprehensive catalogues. . . [The present] catalogue, edited by Wolf Eiermann . . . is another effort to make the picture of 400 year of handcolouring more complete . . . The Sammlung Frank, a private collection in Stuttgart focused on German art and formed in the previous century, served as the main source, supplying about 110 of the 134 catalogued items (304) . . . The period from c. 1760 to 1880 is well represented with about one hundred items, mainly topographical, but also on costumes and natural history, including a rare example of Christian Gottlieb Ludwig’s Ectypa vegetabilium . . . / Nach der Nature verfertigte Abdrucke der Gewachse (nature-printed prints of plants; Halle and Leipzig, 1760–64) with 200 nature prints in contemporary colouring” (306).

Peter Fuhring, Review of Thomas Wilke, Innendekoration: Graphische Vorlagen und theoretische Vorgaben für die wandfeste Dekoration von Appartements im 17. und 18. Jahrhundert in Frankreich, 2 volumes (Scaneg Verlag, 2016), pp. 308–10.

The study of prints related to the decoration of secular interiors in France from the seventeenth and eighteenth centuries, in association with theoretical guidelines, . . . reveals an ambition that is difficult to fulfill. . . So far not a single catalogue or study encompasses the entire French print production of wall decorations, mantelpieces and ceilings made during both centuries. . . Further research is necessary to complete the still lacunar state of our knowledge. This is what Wilkie strives to do. His study is composed of two parts: the first volume offers a presentation of the issues as set out in the title, while the second consists of a catalogue of prints that form the basis of the author’s demonstration (308).

Véronique Meyer, Review of Katie Scott, Becoming Property: Art, Theory, and Law in Early Modern France (Yale University Press, 2018), pp. 313–15.

[Scott’s] recent book . . . examines the relationship between intellectual property and the visual arts in France from the sixteenth century to the beginning of the nineteenth . . . It traces the history of this relationship, highlighting key moments with exemplary case studies as well as citing regulations and legal texts, (313) and examines the role of the parties involved, including booksellers, publishers, engravers, draughtsmen and authors. Although the sixteenth and seventeenth centuries occupy and important place in the book, which shows how the definition of privilege and copyright evolved over the years, it is above all France of the Enlightenment and Revolution that lies at the heart of this study (314). . . [It] is a must for all who are interested in the history of printmaking, the decorative arts and artistic theories and institutions such as the Académie Royale (315).

David Bindman, Review of Cynthia Roman, ed., Hogarth’s Legacy (Yale University Press, 2016), pp. 315–16.

Hogarth’s enormous and long-lasting influence on art and popular imagery is the subject of a series of essays, largely by scholars of eighteenth-century art, including . . . Douglas Fordham, Dominic Hardy, Brian Maidment, Patricia Mainardi, Ronald Paulson, Mark Salber Philips, and Michael Printy. . . Collections of essays inevitably fall somewhere on the spectrum between the tightly focused, based on a close conversation between the authors, and the loose and baggy, in which the connections between the essays are more informal. Although the quality of the essays is uniformly excellent, this volume tends more toward the baggy . . . The main and entirely commendable purpose of the volume seems to have been to make scholarly use and draw further attention to the relatively little-known and underused, and in some areas quite spectacular, collections of Hogarth engravings and late eighteenth-century caricature in the Walpole Library (315).

Roger Paas, Review of Josef Biller, Calendaria Bambergensia: Bamberger Einblattkalender des 15. bis 19. Jahrhunderts von der Inkunabelzeit bis zur Säkularisation, 2 volumes (Anton H. Konrad Verlag, 2018), pp. 317–19.

Biller has dedicated over four decades to the collecting and studying of broadside (316) calendars published for the bishopric of Bamberg, and the results of his in-depth research have now been published in a detailed and richly illustrated two-volume catalogue (318).

Daniel Godfrey, Review of Anke Fröhlich-Schauseil, Schenau (1737–1806): Monografie und Werkverzeichnis der Gemälde, Handzeichnungen und Druckgrafik von Johann Eleazar Zeißig, gen. Schenau (Michael Imhof Verlag, 2018), pp. 319–23.

The son of a damask weaver from Großschönau in Saxony, Schenau fled the outbreak of the Seven Years’ War in 1756 to Paris. There he Frenchified his name and established a reputation as an artist of ‘society paintings’ focused on liaisons between the sexes, coiffure and the texture of material. The mentorship of Johann Georg Wille (17151808), engraver, print publisher and art dealer, must have motivated Schenau to execute a set of twelve etchings in 1765, six of children acting as adults and six of heads . . . These were to remain Schenau’s only autograph prints (319) . . . Yet, Schenau’s career developed in symbiosis with the print.

Mark Bills, Review of John Ford, Rudolph Ackermann and the Regency World (Warnham Books, 2018), pp. 323–25.

Although Ackermann belongs to and epitomizes the Regency Period (17881830), one cannot help but think that he would be a very useful figure in the art and design world of today (323) . . . John Ford has absorbed an enormous body of material and given us a fascinating chronological account of Ackermann as well as adding important new research and insights (324).

P U B L I C A T I O N S  R E C E I V E D

• Joachim Jacoby, Guillaume Jean Constantin (1755–1816): A Drawings Dealer in Paris (Ad Ilissum for the Fondation Custodia, 2018), p. 339.

• Peter Stoll, Französische Buchillustration des 18. Jahrhunderts in der Oettingen-Wallersteinschen Bibliothek (Universität Augsburg Bibliothek, 2018), p. 339.

• Thora Brylowe, Romantic Art in Practice: Cultural Work and the Sister Arts, 1760–1820 (Cambridge University Press, 2019), p. 339.

• Helen Rosslyn, A Buyer’s Guide to Prints (The Royal Academy of Arts in association with the London Original Print Fair, 2018), p. 342.