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A provocative letter from a prominent eighteenth-century British noblewoman, Henrietta Howard, to her close friend Mary Hervey is a rare survivor of the informal, collaborative satires created by court women in this period. This particular June 1729 artifact contains a witty and light-hearted list of imaginary portraits, most of which refer to a notable political figure through references to specific paintings, sculptures, engravings, ceramics, textiles and book illustrations. Through a close reading of archival manuscripts, published correspondences and art historical treatises, Eric Weichel explores the cultural milieu and historical legacy of this remarkable text. Constrained by strict standards of moral propriety, the writer's overt discussions of sexuality in this letter are encoded through a system of embedded jokes and mythological references. Weichel argues that through Lady Hervey's mention of popular works of art, such as the Hampton Court tapestry cartoons by Raphael, the 'Jupiter and Ganymede' motif in country house décor, or the illustrated fables of Jean de La Fontaine, she alludes specifically to her wider circle's knowledge of adultery, queerness, sexual violence, and divorce among their peer group. In her imaginary portraits, Hervey also shows an interest in feminist education and literature, political and religious patronage, and contemporary news events.

This book uses an art historical and feminist methodology to engage with Emma Hamilton, an eighteenth century celebrity who appeared in many works of art by important artists including Angelica Kauffmann, George Romney and Elisabeth Vigee-Le Brun.

This transnational volume examines innovative women artists who were from, or worked in, Denmark, Finland, Greenland, Iceland, Norway, Sapmi, and Sweden from the emergence of modernism until the feminist movement took shape in the 1960s.

In this book, contributors identify and explore a range of iconic works - "Mistress-Pieces" - made by feminists and gender activists since the 1970s.

This book examines collecting around the world and how women have participated in and formed collections globally.