Introduction: A Long History of Extra-Illustration
Part I: Getting your heads in order: engraved portrait collecting
and the origins of extra-illustration
1. ‘Of collectors of English portrait prints’
2. Genteel authorship, the community of the antiquarian text, and
the invention of extra-illustration
3. Portraiture, order, and meaning
4. John, Lord Mountstuart and the Ends of the Bull Granger
Part II: From domestic retirement to a commercial marketplace:
amateurs, antiquaries, and entrepreneurs
5. “Retirement, rural quiet, friendship, books”: amateurism and its
trophies
6. Charting the craze: Anthony Storer and Richard Bull
7. The Strawberry Hill Press and the rituals of bibliographic
exchange
8. Antiquarian topography or armchair tourism: Thomas Pennant’s
“Labors”
9. Popularizing Pennant’s London: how the art world sold
extra-illustration
Part III: The Sutherland Clarendon: gender, the print market, and
national heritage
10. “Buried under its own Grandeur”: understanding the Sutherland
Clarendon
12. The cut and thrust of the print market in the early nineteenth
century
13. Women, widowhood, and collecting: Charlotte Sutherland’s
Inheritance
14. Monumentalizing the Sutherland Clarendon: between rhetoric and
content, 1820–1839
15. The female connoisseur and the private catalogue
16. A “National Work” completed: the Sutherland Clarendon and
cultural heritage
Epilogue: Rethinking the past, securing the future
Select bibliography
Index
Lucy Peltz is Senior Curator of Eighteenth-Century Collections and Head of Collections Displays (Tudor to Regency) at the National Portrait Gallery, London
‘A handsome tome […], as full of apposite illustrations as its
subject. [Facing the text] will be of immense use to the many
institutions who have contributed to it, and it has added a new and
original chapter to the social history of Britain.’
Nicolas Barker, The Library, 7.19.2, June 2018
‘This study is about the practice of ‘Grangerizing’ books […] and
the core of this book by Lucy Peltz deals with the golden age of
the extra-illustration that Granger inspired. […] a detailed and
lavishly illustrated account. Indeed, one of the most striking
features of the book is its luxurious landscape format, which
enables the author to reproduce a myriad of examples of openings
from the extra-illustrated books to which it is devoted, literally
showing the way in which the rare portraits and views which their
owners collected were juxtaposed with the text, often also being
lovingly annotated with data about their provenance and
significance.’
Michael Hunter, Birkbeck, University of London, The English
Historical Review, 2018
‘The book reveals in its text and its bibliography Peltz’s
extensive reading, and succeeds in being both theoretically
grounded and clearly written, with perhaps a touch of the lecturer
in the first-person authorial interjections as to where next she
wants to turn or explore or excavate. Clearly the Huntington has
gone to considerable trouble to realize the visual riches that
Peltz describes, and the book’s oblong format and copious colour
illustrations give the reader something of the experience of
turning the pages in one of the extra-illustrated volumes to which
it is devoted.’
Stephen Clarke, Print Quarterly, XXXV, 2018, 3.
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