Contents
A Portrait of Angelo del Pas Attributed to Luca Ciamberlano by LUCA BARONI 131
This paper discusses a previously unrecorded print in a private collection depicting the Franciscan friar, ascetic and theologian Angelo del Pas (1540–96), one of the most venerated Franciscan preachers in counter-reformation Rome. By combining an apologetic text and an iconography alluding to the supposed internal stigmatization of the friar, the print, published in Rome in 1601 by Giovanni Antonio de’ Paoli (fl. 1589–1630) and here tentatively attributed to Luca Ciamberlano (1580–1641), was intended to support del Pas’ canonization process. Despite this effort, Father Angelo’s canonization failed, and his image was probably withdrawn from the market, explaining the print’s rarity. The description of the image’s creation, preserved in the canonization documents, offers precious insight into the methods of creation of a portrait of an ecclesiastic in sixteenth- century Rome and its use as propaganda.

A Mezzotint by Jacob Christoff Le Blon (1667–1741) at Oxburgh Hall by JANE EADE 143
The article documents the findings of art historical research, technical analysis and the conservation treatment of a rare mezzotint by Jacob Christoff Le Blon from the collection of Oxburgh Hall. Documentary sources have revealed a hitherto unknown Dutch investor in Le Blon’s London Picture Office, while research into the picture has led to new insights about the decorative scheme it was part of and exposed the subject’s historical role as a symbol of Jacobite sympathies.

Abraham Raimbach and the Reception of Prints after Sir David Wilkie in France by STEPHEN BANN 154
The English engraver Abraham Raimbach (1776–1843) played a unique role in reproducing the major paintings of Sir David Wilkie. Especially in France his prints secured a lasting reputation for both artists. The author argues that Raimbach's prints introduced a new narrative style that would prove influential for painting throughout Europe. This essay challenges a recent study which holds that this new style, defined by the articulation of objects in narrative space, was the legacy of Paul Delaroche's Assassination of the Duc de Guise, of 1834.

John Linnell, Leonardo Cungi and the Vault of the Sistine Chapel by PAUL JOANNIDES 168
The first part of the article discusses John Linnell's mezzotints of 1833–35 after the Sistine ceiling. The second part discusses the drawings (elements of a single dismembered drawing) of which Linnell’s mezzotints aimed to be facsimiles. Unseen and long forgotten, the drawings are in all probability those attributed to Leonardo Cungi by Giorgio Vasari. The drawing in its complete state is the earliest copy so far discovered to show the complete ceiling in full detail.

Notes
Early Modern Visual Parodies (Gegenbilder. Bildparodistische Verfahren in der Frühen Neuzeit) by ULRIKE EYDINGER 185
Printing Magic (Art of the Grimoire) by NIGEL IP 187
Images of Miraculous Healing in the Early Modern Netherlands by EVELYNE VERHEGGEN 189
Giovanni Battista Piranesi’s (1720–78) Texts (Edizione Nazionale dei Testi delle Opere di Giovanni Battista Piranesi. I. Opere giovanili, ‘Vedute di Roma’, ‘Pianta di Roma e Campo marzo’) by ANTONY GRIFFITHS 191
William Blake Apprentice Engraver by MARK CROSBY, JOHN BARRETT and ADAM LOWE 192
Politics and Dissemination of Images in Europe, 1750–1848 (De la création à la confrontation) by ERSY CONTOGOURIS 194
Eighteenth-Century Cheap Print and Cheap Prints by CYNTHIA ROMAN 197
Regency Printmaker, George Cuitt (1779–1854) by SARAH GRANT 199
Salon Culture in Japan: Making Art, 1750–1900 by TIMON SCREECH 201
The Fantastic Gustave Doré and La Constellation Gustave Doré (1832–83) by TED GOTT 203
Whistler at the Colby College Museum of Art and the Freer Gallery of Art (Whistler: Streetscapes, Urban Change) by GRISCHKA PETRI 206
The Art of the Literary Poster: The Leonard A. Lauder Collection by RUTH E. ISKIN 207
Käthe Kollwitz: A Retrospective by PAUL COLDWELL 210
Grants from the O’Brien Art Foundation 213
Mary Wykeham (1909–96): A Slant of Light (Mary Wykeham: Surrealist out of the Shadows) by NATALIE DUPÊCHER 213
From Resistance to Autonomy: The Polish Poster in the Age of Socialist Realism, 1944–54 by WALDEMAR DELUGA 215
Gertrude Goldschmidt aka Gego (1912–94) (Gego: Weaving the Space in Between) by MICHAEL ASBURY 218
Glenn Ligon: All Over the Place (Fitzwilliam Museum, Cambridge, UK) by PAUL COLDWELL 220
Anne Desmet: Kaleidoscope by PAUL COLDWELL 222
Artist’s Books in the Islamic World (Artists Making Books: Poetry to Politics) by MARCIA REED 224
Publications Received 227

Catalogue and Book Reviews
The Liber Quodlibetarius and the Art of Observation (Early Modern Print Media and the Art of Observation: Training the Literate Eye) by SUZANNE KARR SCHMIDT 229
Melchior Lorck (1526/27–83) by MAARTEN BASSENS 233
Goethe’s Faust I Outlined by BETHAN STEVENS 240
Kerry James Marshall by CLARE ROGAN 244