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How do artists ensure that their works will still be known in later centuries? How do they reach a public in distant places? In around 1600 the answer was: via prints. Through their exceptional works and marketing strategies in this medium, Hendrick Goltzius (1558-1617) and Peter Paul Rubens (1577-1640) earned international and lasting success. Engravings are easy to reproduce and distribute, and so in around 1600 they became the perfect ambassadors for artists. With a selection of 140 engravings, this volume shows that Goltzius and Rubens were highly innovative and strategically astute in their use of this medium, seeking to beguile their audience, arouse desires and disseminate their own new artworks. In addition to their paintings, the engravings became sought-after collectors' items which played a decisive part in the promotion of the careers of both artists.

We do not know who trained Esaias Boursse (1631-1672) to be a painter, but we do know that he became a member of the Amsterdam Guild of St Luke around 1651. He certainly did not have a successful career because he joined the Dutch East India Company (voc) in 1661. He travelled to Colombo, the capital of the island of Ceylon (Sri Lanka since 1972), captured six years earlier by the Portuguese, by way of Batavia (now Jakarta). In 1663 he was back in Amsterdam – remarkable, as the standard contract with the voc was for five years. In financial straits again, he re-joined the voc in 1671 and left for Asia. Shortly after leaving he died at sea. In 1996 an album containing 116 drawings came to light, most of them made by Boursse during his time in Ceylon; he made only a small number during his out- ward or return journeys to the Cape of Good Hope. The drawings are completely different from his earlier known oeuvre of genre paintings and prints with religious themes. The pages in his 'Tijkenboeck' provide a unique picture of what Boursse saw in and around Colombo. They are important evidence of the early days of the voc in its conquered colony of Ceylon.

No detailed description available for \"Peter Stent, London Printseller\".

[...]the most obvious: the abundance, quality, and variety of the items displayed, many of them priceless, rare, or heretofore unknown (e.g., a Viandier scrolled manuscript, the only existing copy of the sixteenth-century Petit traict auquel verrez la manire de faire cuisine, or a complete copy of the 1767 Gazetin du comestible). Small wonder, since the bnf and Arsenal house the worlds largest collections of French culinary writings,1 and the exhibit is further enriched by loans from public institutions as well as private collections.Add to this a made-to-order location. Items displayed include books, manuscripts, illuminations, periodicals, correspondence, household accounts, inventories, menus, table settings, porcelain gurines, furniture, prints, paintings, tapestries, and stained glass, in addition to the eye-catchingcollation and a replica of the Marquiss dining table.Going through time at Arsenal involves going through space, since the room displaying medieval and Renaissance objectsone of four, all former living quartersis furthest from the entrance. [...]for added kicks there is the showy (but dont forget, its real) collation centerpiece with its many meats and sweetmeats.More concretely, the 150 years under inspection indicate advances towards what is now labeled lagro-industriel, several new marketing techniques (mail orders, ads, shopping guides) that coincide with a fast-expanding cookbook market, and towards the rst stirrings of globalization (special treatises on exotic newcomers such as chocolate, coffee, or potatoes), as world trade takes a signicant leap forward. Discursive cookbook prefaces reect the Enlightenments belief in progress and involvement in the ongoing nature/culture controversy, while scientic treatises (e.g., works by Duhamel du Monceau, Parmentier, and Tissot) and those focusing on the arts (Lart de bien traiter, books on civility and table decorations) or mtiers (Count Rumfords writings) project the Encyclopdie at a time when various cookbooks adopt the formers dictionary format (e.g., the 1750 Dictionnaire des alimens).6The next two (and last) exhibit rooms differ from the others in that they are much smaller and highlight a single personality.

On 20 February 1688, the Dutch entrepreneur Johannes Teyler (1648—c. 1709) was granted a privilege for his new method to represent on paper, parchment, satin, silk or other fabric, in the form of maps, books, cloths and otherwise, all kinds of figures, ornaments and in particular armies, encampments, sieges, battles, fortifications, military exercises, and so on, with their colours existing in drawn as well as printed miniatures, the which is a matter being particularly suited to the service of all military study and exercise. This patent related to Teyler's innovative procedure for printing images in multiple colours: the la poupée technique involving the inking of a copperplate in two or more colours next to each other and printed in one run. This process had already been in use occasionally since 1457, but Teyler's prints are distinctive for their high-quality printing and the large number produced. The originality of Teyler's prints further lies in their bold, bright colours, the tonal gradations and innovative marbling effect in the inking, and the combination of a la poupée inking with hand-colouring.

Gravures de la rue Montorgueil by Severine Lepape, Paris, Bibliotheque Nationale de France, 2016, is discussed. The rue Montorgueil dominated the Parisian print trade in the decades either side of 1600.The prints produced there are today some of the rarest works in the field. This revelatory catalog throws a flood of light on this obscure area and will be the basis for all future research.

A set of Renaissance silverware has been reunited for the first time in centuries, writes David Adshead. Reviewed: The Silver Caesars: A Renaissance Mystery 12 December 2017-11 March, Metropolitan Museum of Art, New York, Catalogue by Julia Siemon et al. The date was September 1604. It is these tazze, or serving dishes (Figs. 1-4), each one raised upon a foot and carrying at its centre a statuette of a Roman ruler - Julius Caesar or one of the 11 emperors up to Domitian - that visitors have been feasting their eyes on in the exhibition 'The Silver Caesars.'