Enfilade

As noted in Salon, the newsletter of the Society of Antiquaries of London, issue 402 (6 March 2018) . . .

On 31 January John Wilton-Ely FSA was presented with a festschrift at a ceremony at the Instituto Centrale per la Grafica, Palazzo Poli, Rome, in recognition of his services to scholarship on the life and works of Giovanni Battista Piranesi, FSA (elected 1757). The publication is volume 32 of the art historical journal, Studi sul Settecento Romano (Sapienza Università di Roma), entitled Giovanni Battista Piranesi, predecessori, contemporanei e successori: Studi in onore di John Wilton-Ely. The papers were formally delivered in 2016 at a special conference arranged by the Royal Swedish Academy in the Royal Palace at Stockholm, which contains a significant collection of Piranesi’s imaginatively restored classical antiquities, acquired by Gustav III from the artist’s former museo in Rome.

From Arbor Sapientiae:

Francesco Nevola, ed., Giovanni Battista Piranesi, Predecessori, contemporanei e successori: Studi in onore di John Wilton-Ely, Studi sul Settecento Romano, volume 32 (Rome: Sapienza Università di Roma, 2016), 400 pages, ISBN: 978-8871407432, 60€.

• Francesco Nevola, John Wilton-Ely: Una vita con Piranesi
• Jörg Garms, Il rococò in Italia e la vicenda di Piranesi
• Lola Kantor-Kazovsky, On the Eve of the Graeco-Roman Controversy: Pierre Jean Mariette and Bouchardon’s Fountain of the Four Seasons
• Francesco Nevola, Giovanni Battista Piranesi’s Origins as a Vedutista: The impact of Canaletto and Bellotto
• Myra Nan Rosenfeld, Piranesi’s Grotteschi: A Visual Expression of the Literary Aims of the Accademia degli Arcadi
• Silvia Gavuzzo-Stewart, Irony in Piranesi’s Carceri and Lettere di Giustificazione
• Frank Salmon, Piranesi and the Accademia di San Luca in Rome
• Susanna Pasquali, Piranesi’s Campo Marzio as described in 1757
• Elisa Debenedetti, Piranesi, Marchionni e il mito di Diogene
• Mario Bevilacqua, Piranesi’s Ironies and the Egyptian and Etruscan Dreams of Margherita Gentili Boccapaduli
• Georg Kabierske, Vasi, urne, cinerarie, altari e candelabri: Newly Identified Drawings for Piranesi’s Antiquities and Sculptural Compositions at the Staatliche Kunsthalle Karlsruhe
• Heather Hyde Minor and John Pinto, ‘Marcher sur les traces de son père’: The Piranesi Enterprise between Rome and Paris
• Pier Luigi Panza, Il Museo Piranesi: Un censimento e osservazioni su attribuzioni, vendite e uso dei pezzi in architettura
• Raffaella Bosso, Per un catalogo dei marmi piranesiani del Museo Gustavo III di Stoccolma: Il caso di studio del candelabro con uccelli
• Alvar Gonzalez-Palacios, Il Nilo in bigio del Museo Gregoriano Egizio
• Anne-Marie Leander Touati, Piranesi’s Grande Cheminée, Virtually Recreated for John Wilton-Ely
• Cesare de Seta, Roma al tempo di Giovan Battista Piranesi e i suoi eredi nell’arte del paesaggio nel Settecento europeo

Indice dei nomi

J. R. Smith after John Francis Rigaud, Group Portrait of Agostino Carlini, Fransescho Bartolozzi, Giovani Battista Cipriani, 1778, mezzotint, 44.4 × 504 cm (London: The British Museum).

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The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 35.1 (March 2018)

A R T I C L E S
• David Alexander, “A Cosmopolitan Engraver in London: Francesco Bartolozzi’s Studio, 1763–1802,” pp. 6–26.

S H O R T E R  N O T I C E S
• Daan van Heesch, “The Graphic Source for Rajput Images of Fools,” pp. 50–53.

N O T E S  A N D  R E V I E W S
• Ellis Tinios, Review of the exhibition catalogue T. June Li and Suzanne Wright, Gardens, Art, and Commerce in Chinese Woodblock Prints (The Huntington Library, Art Collections, and Botanical Gardens, 2016), pp. 63–65.
• David Pullins, Review of W. McAllister Johnson, The Rise and Fall of the Fine Art Print in Eighteenth-Century France (University of Toronto Press, 2016), pp. 65–66.
• Naomi Lebens, Review of the exhibition catalogue The Royal Game of the Goose: 400 Years of Printed Board Games (Grolier Club, 2016), pp. 66–70.
• Brendan Cassidy, Note on William Woollett’s Ring, pp. 70–71.
• Ellis Tinios, Review of the exhibition catalogue A Third Gender: Beautiful Youths in Japanese Prints (Royal Ontario Museum, 2016), pp. 72–74.
• Martin Hopkinson, Review of Gill Saunders, Eclectic: The Julie and Robert Breckman Collections at the Victoria and Albert Museum (V&A Publishing, 2016), pp. 74–75.
• Jesusa Vega, Review of Juliet Wilson-Bareau and Leah Lehmbeck, Goya in the Norton Simon Museum (Norton Simon Museum, 2016), pp. 75–77.
• Mark McDonald, Review of Antonio G. Moreno Garrido, La Estampa de devoción en la España de los siglos XVIII y XIX (Editorial Universidad de Granada, 2015), pp. 77–78.
• Jean Michel Massing, Review of Juan Pimentel, The Rhinoceros and the Megatherium: An Essay in Natural History, translated by Peter Mason (Harvard University Press, 2017), pp. 78–79.
• Stephan Bann, Review of Antony Griffiths, The Print before Photography: An Introduction to European Printmaking, 1550–1820 (The British Museum Press, 2016), pp. 94–97.
• Bozena Anna Kowalczyk, Review of Michael Matile with Alberto Craievich and Isabelle Scheck, Della Grafica Veneziana: Das Zeitalter Anton Maria Zanettis (1680–1767) (Michael Imhof Verlag, 2016), pp. 98–101.