Two Notes and Review in the September 2026 issue of Print Quarterly may be of interest to CODART members for their material relating to Dutch and Flemish artists.
Waldemar Deluga’s Review of Kolekcja rycin Jana Ponętowskiego w zbiorach Biblioteki Jagiellońskiej w Krakowie [The collection of prints of Jan Ponętowski in the Jagiellonian Library in Cracow] examines the oldest collection of prints in Poland, which were donated by Ponętowski (c. 1540–98) to the University of Cracow. The twelve albums contain primarily sixteenth-century Italian and Netherlandish engravings in series, such as Adrian Collaert’s (1560–1618) Acta Apostolorum, as well as woodcuts and several drawings.
Guido Scholten’s Note reviews Akte, Antike, Anatomie: Zeichnend die Welt erschliessen, which explored drawing manuals and printed instruction books from the fifteenth to twentieth centuries. The starting point of the corresponding two-venue exhibition in Hamburg was a compendium of late-seventeenth-century drawings by Joachim Etzekiel Levezow copying mainly Dutch prints, as well as illustrations from drawing manuals of German origin.
Susanne Meurer’s Note on Strasbourg 1560–1600. Le renouveau des arts discusses the city’s rôle as a major artistic centre in the latter half of the sixteenth century, attracting a wealth of artist-migrants from France, Switzerland, the Southern Netherlands and Germany. Although Wendel Dietterlin (1551–99) and Tobias Stimmer (1539–84) dominate the section on printmaking, the engraver and publisher Theodor de Bry (1528–98) is mentioned for the impact of his work as a goldsmith in Strasbourg between 1560 and 1577.
Contents
Lost and Found: An Unpublished Woodcut by Pamvo Berynda by Georgii Titov
Filippo Morghen as Print Publisher in Naples: New Documents by Domenico Pino
Charles F. Greville (1749–1809) and the Print Industry by Ann V. Gunn
Bruce Onobrakpeya’s Printmaking: ‘Creation Has No Retirement’ by Augustina Boateng
Notes
Strasbourg 1560–1600. Beyond Print by Susanne Meurer
Learning to Draw (Akte, Antike, Anatomie: Zeichnend die Welt erschliessen) by Guido Scholten
Gothic Modern – Munch, Beckmann, Kollwitz by Freyda Spira
Henry Winstanley, 1644–1703 by Antony Griffiths
Edgar Degas’s Cuff Button by Marjorie B. Cohn
Chromo de Bazar by Camilla Murgia
Dance of Death (La mort dans tous ses états. Modernité et esthétique des Danses macabres, 1785–1966) by An van Camp
Typophoto as Perceptual Paradigm (New Typography and the Reinvention of Photography) by Sabine Kriebel
Li Hua (1907–94): Voice of the Woodcut Revolution in Modern China by Guo Meilin and Mohd Jamil Mat Isa
The Poster as Art in the People’s Republic of Poland, 1944–68 (De la résistance à l’autonomie) by Celina Fox
Publications Received
Catalogue and Book Reviews
Art on the Move in Renaissance Italy by Irene Brooke
Jan Ponętowski’s Collection of Engravings in the Jagiellonian Library in Cracow (Kolekcja rycin Jana Ponętowskiego w zbiorach Biblioteki Jagiellon´skiej w Krakowie) by Waldemar Deluga
Hiroshige: Artist of the Open Road by Timon Screech
The Culley Collection at Pomona College (An Unruly Assembly: The Culley Collection of Woodblock Prints) by Jake Milgram Wien
Jacob Samuel and Contemporary Etching by Susan Tallman
Screenprints (A History) by Paul Coldwell
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.