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“... The story of the Perreau brothers has all the ingredients of a classic film noir: blackmail, intimidation, seduction, betrayal, mysterious encounters, shady financial transactions, courtroom intrigues, confession, retraction and, above all, an irresistible femme fatale, Mrs Margaret Caroline Rudd. Perhaps an innocent and wronged victim, but more likely a cunning manipulator of everybody around her (particularly men), she alone walks away from a disaster, seemingly of her own making, that leaves everyone else confused, injured or dead ...”

“... painter Edward Collier (c.1640-1710) and, in turn, his amiable, indefatigable celebrant, Dror Wahrman. The dominant subject of Collier’s paintings is the letter rack, a simple arrangement of three horizontal leather straps, attached to a wall, holding in place a bustling miscellany of textual props: in one typical example there is an ...”

“... whether the author is making fun or not, nor of whom, nor what his intention is.’The historian Dror Wahrman has used the term ‘Print 2.0’ to describe this moment in the evolution of the public sphere, when the consequences of the Gutenberg revolution arrive with unmistakable force. Thanks to a convergence of factors (the lapse of Stuart licensing ...”

“... Empire. The Georgians felt delight and sometimes appalled fascination at what the historian Dror Wahrman has called the ‘protean mutability of identity’. If, as Fielding claimed in 1743, society was ‘a vast Masquerade, where the greatest Part appear disguised’, a stunt such as Barry’s wouldn’t appear particularly subversive. The ...”