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paintings to him (twenty-eight known; nine lost), and another thirty-six which he suggests on stylistic grounds may have been executed during the London sojourn. So with an output of possibly over seventy works, many of them also engraved, the response to his arrival in London appears in the numbers. There was a market there—one that favored the style of portraits similar to those by the then-popular Godfried Kneller, who was also in London with a formidable practice at the same time. There were, in fact, many foreign artists working in London throughout the seventeenth century, including several Dutch ones. Although Franits addresses their work in terms of style and composition, a list of artists would have created a fuller context of Schalcken’s possible rivals, and a concept of an expat community, if there really was a community. In this regard, he locates the residences of his patrons and their relationship to each other. But here too, one would have liked a map of the area, with an indication of where Schalcken was living in relation to others. Franits is surely correct that the patrons who lived near each other saw each other’s portraits and recommended Schalcken to each other. Franits is masterful at developing in-depth biographies of these London patrons. Much of this information, as well as Schalcken’s own biographical information, is new, despite a previous catalogue raisonneé (Thierry Beherman, Godfried Schalcken [1988]; curiously, Franits doesn’t explain why we now use the Latinized spelling of his first name). The subject of Schalcken’s London patrons was also the topic Franits addressed in the 2016 symposium for the exhibition, Godefridus Schalcken: Painted Seduction, later published in the Wallraf-Richartz-Jahrbuch (77 [2016]: 19–42). Although most of the book is devoted to portraits, including self-portraits, Schalcken did execute many genre scenes in London, as well as some history paintings and at least two flower pieces. Franitz also explores Schalcken’s entrance into each of these markets. Thus, Godefridus Schalcken’s sojourn in London is partly about his work, his patrons, and his clientele, but also about the nature of the growing English art market.