{"title":"媒染剂纪念品:蚀刻气泡和咬人时间","authors":"R. Ezra","doi":"10.1086/720978","DOIUrl":null,"url":null,"abstract":"The tercentenary of the 1720 South Sea Bubble saw a fl urry of interest in The Bubblers Medley ( fi g. 1), a satirical trompe-l ’ oeil print published by Thomas Bowles II and sold at his London shop soon after the stock market collapsed. 1 Yet for all the attention paid to the medley ’ s printed items — news clippings, illustrated verse, a playing card — one fi gure got short shrift: the naked boy blowing soap bubbles in the lower right-hand corner. 2","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"7 1","pages":"197 - 207"},"PeriodicalIF":0.2000,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Memento Mordant: Etching Bubbles and Biting Time\",\"authors\":\"R. Ezra\",\"doi\":\"10.1086/720978\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The tercentenary of the 1720 South Sea Bubble saw a fl urry of interest in The Bubblers Medley ( fi g. 1), a satirical trompe-l ’ oeil print published by Thomas Bowles II and sold at his London shop soon after the stock market collapsed. 1 Yet for all the attention paid to the medley ’ s printed items — news clippings, illustrated verse, a playing card — one fi gure got short shrift: the naked boy blowing soap bubbles in the lower right-hand corner. 2\",\"PeriodicalId\":43235,\"journal\":{\"name\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"volume\":\"7 1\",\"pages\":\"197 - 207\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/720978\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOURCE-NOTES IN THE HISTORY OF ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/720978","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
The tercentenary of the 1720 South Sea Bubble saw a fl urry of interest in The Bubblers Medley ( fi g. 1), a satirical trompe-l ’ oeil print published by Thomas Bowles II and sold at his London shop soon after the stock market collapsed. 1 Yet for all the attention paid to the medley ’ s printed items — news clippings, illustrated verse, a playing card — one fi gure got short shrift: the naked boy blowing soap bubbles in the lower right-hand corner. 2