Two Notes in the March 2026 issue of Print Quarterly may be of interest to CODART members for their material relating to Dutch and Flemish artists. A third Note, The Place of Prints, briefly touches on Alart du Hameel as well as on thesis prints in the Spanish Netherlands.
Frédéric Hueber’s Note on Antoine Caron (1521–1599). Le Théâtre de L’Histoire briefly discusses the important Valois Tapestries, which have been attributed to the Brussels workshop of Willem de Pannemaker (ca. 1510–81).
Meanwhile, An Van Camp’s Note on Little Beasts: Art, Wonder, and the Natural World highlights the role of three Antwerp artists in bridging artistic practice and scientific inquiry: Joris Hoefnagel (1542–1600), his son Jacob (1573–1632) and Jan van Kessel (1626–79). The discussion goes into detail about Jacob’s translation of his father’s private nature drawings into print, published in 1592 as the Archetypa studiaque patris Georgii Hoefnagelii, and its influential legacy across Europe.
Contents
A New Chronology for Hans Burgkmair’s ‘Portrait of Jakob Fugger’ by Elizabeth Savage
Conrad Martin Metz and his Imitations of Ancient and Modern Drawings by Elania Pieragostini
Paul Gauguin’s Portrait of Stéphane Mallarmé by Aaron Slodounik
Shorter Notice
New Facts about Russia’s Imperial Portrait Series, 1745–77 by Dominika Cora
Notes
The Place of Prints (Placing Prints: New Developments in the Study of Print 1400–1800) by Armin Kunz
Dürer in Trento (Dürer e gli altri. Rinascimenti in riva all’Adige) by Christopher P. Heuer
Tattoo Art: Dürer under your Skin by Sabine Mödersheim
The Useless Scythe in Caraglio’s ‘Saturn’ after Rosso by Bernard Barryte
Giovanni Battista Scultori (1503–75) at the Palazzo Ducale, Mantua by Eveelyn Lincoln
Antoine Caron (1521–1599). Le Théâtre de L’Histoire by Frédéric Hueber
New Online Resource D.A.N.T.E. (Digital Archive and New Technologies for E-content) by Serena Malatesta
Violence and the Genesis of the Anatomical Image by Scott Nethersole
Little Beasts: Art, Wonder, and the Natural World by An Van Camp
Piranesi’s ‘Vedute di Roma’ by Andrew Robison
Hiroshige’s One Hundred Famous Views of Edo by Ellis Tinios
Aubrey Beardsley and the Grotesque by Stephen Calloway
Robert Lotiron (1886–1966) (La poésie du quotidien) by Martin Hopkinson
Tirzah Garwood (1908–51) (Beyond Ravilious) by Joanna Selborne
Yoshida: Three Generations of Japanese Printmaking by Joe Nickols
Obituary for David Bindman (1940–2025)
Obituary for Christopher Mendez (1943–2025) by Antony Griffiths
Catalogue and Book Reviews
Leonardo da Vinci and Printmaking (Léonard de Vinci et l’art de la gravure. Traduction, interprétation et réception) by David Landau
The Holy House of Loreto (Early Modern Replicas of the Holy House of Loreto: Translating Space) by Gervase Rosser
Hokuei: Master of Osaka Kabuki Prints by Ellis Tinios
Mary Cassatt at Work by Britany Salsbury
John Wilson: Witnessing Humanity by John A. Tyson
About Print Quarterly
Print Quarterly is the leading international journal dedicated to the art of the print from its origins to the present. It is peer-reviewed. The Journal publishes recent scholarship on a wide range of topics, including printmakers, iconography, social and cultural history, popular culture, print collecting, book illustration, decorative prints, and techniques such as engraving, etching, woodcutting, lithography and digital printmaking. For subscriptions see www.printquarterly.com.