Notes on Contributors
Oliver Kik
is an art historical researcher at the Royal Institute for Cultural Heritage in Brussels (KIK-IRPA), where he specializes in sixteenth-century visual culture in the Habsburg Low Countries. He studied art history at the universities of Ghent and Utrecht. In his dissertation, defended at the universities of Leuven and Utrecht, he focused on the role of Netherlandish visual artists in the architectural design practice during the first half of the sixteenth century. Some of his research interests are Netherlandish humanist culture, early modern print production, architectural and ornamental language, and cross-media collaborations. He is a member of the Royal Academy of Archaeology of Belgium and has contributed to several exhibition catalogues and edited volumes on early modern Netherlandish art and architecture.
Barbara Stoltz
studied History of Art and Italian Literature at the Philipps Universität Marburg and at the Università Ca’ Foscari di Venezia. She was a PhD-student at the Kunsthistorisches Institut in Florence, working on the theory of art and literature critics within Federico Zuccaro’s drawings to the Divine Comedy (Gesetz der Kunst—Ordo der Welt. Federico Zuccaros Dante-Zeichnungen, 2011). From 2009 to 2015 she worked on a DFG-project about the theory of printmaking in the Renaissance and habilitated in 2020. Recently her book on theory of printmaking was published, entitled: Die Kunst des Schneidens und die gedruckte Zeichnung. Theorie der Druckgraphik in der Kunstliteratur des 16. und 17. Jahrhunderts, Merzhausen (Ad picturam 2023). Currently she is lecturer at the Universtät Marburg and is working on art theory, especially on the interrelations between renaissance and postmodern theory of arts.
Ben Thomas
is Reader in Art History at the University of Kent. He is currently working on a book about prints entitled Multiple Histories. Recent publications include Edgar Wind and Modern Art: In Defence of Marginal Anarchy (2020), Humphrey Ocean (2019) and Drawing Together (2017).
Ann V. Gunn
taught Museum and Gallery Studies at the University of St Andrews. She has published on 18th–20th century British art, and on research and scholarship in museums. She is author of The Prints of Wilhelmina Barns-Graham. A Complete Catalogue (2007), and The Prints of Paul Sandby (1731–1809): A Catalogue Raisonné (2015). She is currently researching the life and collections of Rt. Hon. Charles Greville (1749–1809), connoisseur, town planner, mineralogist, and horticulturist.
Ad Stijnman
(PhD University of Amsterdam, Fellow of the Royal Historical Society in London) is an independent scholar of historical printmaking processes, specialising in manual intaglio printmaking techniques. He has lectured and published widely on the subject, including his seminal Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012). Together with Elizabeth Savage he co-authored and co-edited Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015). He has curated museum exhibitions on medieval prints, early modern color prints, and Rembrandt etchings printed on Japanese paper. He recently prepared parallel exhibitions on European color prints and book illustrations from the hand-press period in the Herzog August Library (Wolfenbüttel) and the Herzog Anton Ulrich-Museum (Braunschweig) in 2019–20.
Anne Bloemacher
is Assistant Professor of Art History at the University of Münster, where she completed her PhD in 2012 with a thesis on Raphael and Marcantonio Raimondi (funded by the German National Academic Foundation), published as a monograph in 2016 (Deutscher Kunstverlag). Together with Mandy Richter and Marzia Faietti she has edited and contributed to a volume on “Sculpture in Print” (Brill: 2021). Her main research areas are early modern prints and Italian and Northern Renaissance Painting and Sculpture. She is currently pursuing research for her new book on the artist’s hands.
Małgorzata Biłozór-Salwa
PhD, is an art historian and Curator of Old Master Drawings at the Print Room of the University of Warsaw Library. She interned in the graphic collection departments of the British Museum, Musée du Louvre and Biblioteca Apostolica Vaticana. Her principal areas of interest are early modern drawings and print culture in Europe. She is the author of numerous publications including catalogues of the Print Room collections (Italian and Polish drawings) and the recent monograph of Jan Ziarnko/Jean le Grain (2021).
Gwendoline de Mûelenaere
is a postdoctoral researcher in history of art at Université catholique de Louvain in Belgium. Her current project focuses on the handling of early modern prints produced in the Southern Low Countries. Prior to that, she studied the illustrated lecture notebooks from the Old University of Louvain. She obtained a PhD at the UCLouvain, for which she carried out an iconographical study of seventeenth-century thesis prints. Her book Early Modern Thesis Prints in the Southern Netherlands was published by Brill in 2022.
Magdalena Herman
(PhD) is a research assistant at the Institute of Art History, University of Warsaw. She was a principal investigator in the research project “The Print Collection of Jan Ponętowski in the Jagiellonian Library in Cracow” supported by the National Science Centre (Poland). Her thesis on Jan Ponętowski’s prints collection was awarded the Polish Prime Minister’s Prize for outstanding doctoral dissertations and the Polish Art Historians Association Prize for works of young scholars. She has also authored several book chapters and journal articles. Her work has focused on the materiality of printed images, book bindings and print collecting in the second half of the sixteenth century.
Donato Esposito
is an academic and curator who specialises in 18th and 19th-century art, collecting and taste. From 1999 to 2004 he worked as curator in the Department of Prints and Drawings at the British Museum and was in 20012–13 an Andrew W. Mellon Fellow at the Metropolitan Museum of Art, New York. He has published widely on the art collection formed by Reynolds including catalogue essays for exhibitions in Plymouth in 2009–10 (which he also co-curated) and Edinburgh in 2018. Recently, he has reconstructed Reynolds’ former home at 47 Leicester Square, London with special regard to the disposition and storage of his varied artworks, from sculpture to works on paper.