CONTENTS

The Inventory of the Sadeler Venetian Printing Shop by Georgios E. Markou 379

Wenceslaus Hollar’s Muscarum scarabeorum vermiumque varie figure Anatomized and Identified by Mark Stocker, Julia Kasper and Phil Sirvid 390

Étienne Fessard’s Prints of the Chapel of the Hôpital des Enfants Trouvés in Paris by Rena M. Hoisington 404

Rethinking Mary Cassat’s Reflection as a Self-Portrait by Nicole M. Georgopulos 425


NOTES

Sharing Images. Renaissance Prints into Maiolica and Bronze by Catherine Jenkins 439

Art and Violence in Early Renaissance Florence by David Landau 441
Portraits of Artists, to 1800 (Platz da im Pantheon!) by Dominic Bate 443

Hendrick Goltzius’s (1558–1617) Meisterstiche (Petra Wandrey, Ehre über Gold) by Ilja M. Veldman 445

Oxford in Prints by Colin Harrison 448

Surimono Poetry Prints at Oxford by Ellis Tinios 448

Yoshijiro Urushibara, a Japanese Printmaker in London, a Catalogue Raisonné by Kendall H. Brown 450

Jules Chéret’s (1836–1932) ephemera by Nicolas-Henri Zmelty 451

Cassat, Degas and Pissarro by Ashley Dunn 452

Haden, Palmer, Whistler and the Origins of the Royal Society of Painter-Printmakers by Carolin Guignard 455

Quiz for Our Readers: Figures Seated and Standing Around a Table; an aquatint at the Wellcome collection. 457

Ludwig Meidner (1884–1966): Encounters in early-twentieth century Germany by Shulamith Behr 458

William J. Dickerson, 1904–1972: Lithographs, Block Prints and Etchings by Constance McPhee 459

The Royal College of Art’s Coronation Lithographs by Michael Clegg 462

Aldo Crommelynck (1931–2008) by Domenico Pino 466

Furio de Denaro (1956–2012) by Martin Hopkinson 466

Artists’ Postcards, 1960 to Now by Gill Saunders 469

Publications Received 472


CATALOGUE AND BOOK REVIEWS

Eros Visible: Art, Sexuality and Antiquity in Renaissance Italy by Hérica Valladares 474

Architectural Prints and the Practice of Copying in the Late Renaissance (Drawing after Architecture) by Dario Donetti 479

The Icon of the Slave Ship by Jean Michel Massing 484