Italian family of typographers, engravers, publishers and print dealers. Members of the family were active in Venice and Padua in the 16th century and the early 17th. Most notable among them were Luca Bertelli (fl Venice, c. 1560; fl Padua, 1594), Orazio Bertelli (fl Venice, 1562–88), who was possibly Luca’s brother, and Ferdinando (Ferrando, Ferrante) Bertelli (fl Venice, 1561–72). It is difficult to determine the extent of Luca Bertelli’s participation in the execution of the prints he published; they were mainly historical, religious and mythological. Orazio Bertelli probably encouraged Agostino Carracci’s visit to Venice in 1582. Orazio’s engravings included the works of Federico Barocci, Domenico Tibaldi and Paolo Veronese, notably a Pietà (De Grazia, p. 125, no. 102). Ferdinando Bertelli was best known for his publication of a vast number of maps, by both Italian and foreign cartographers.DBI; Thieme–Becker D. De Grazia: Le stampe dei Carracci...
(b Sofiyevka, nr Dnepropetrovsk, Ukraine, Jan 6, 1884; d Leningrad [now St Petersburg], Aug 14, 1939).
Russian painter, graphic artist and collector, of Ukrainian birth. He studied at the School of Art in Odessa (1896–1902) under Kiriak Kostandi (1852–1921) and at the Academy of Arts in St Petersburg (1902–8) under Il’ya Repin, who remained an important influence throughout his life. During the revolutionary years 1905 to 1907 Brodsky became famous as a political caricaturist and for his painting Red Funeral: The Funeral of the Victims of the Armed Attack on the Peaceful Demonstration in St Petersburg on 9 Jan 1905 (1906; St Petersburg, Acad. A., Mus.). From 1909 to 1911 he worked in Germany, France, Italy, Spain and Austria on a scholarship from the Academy. Brodsky’s landscapes and portraits of the period are generally traditional and academic in style.
In 1917 Brodsky drew a series of portraits of the members of the Provisional Government and in 1919 received first prize in the ‘Great Russian Revolution’ competition for his painting ...
J. M. Marsden
(b Market Drayton, Salop, 1725; d London, Nov 22, 1774).
English soldier, patron and collector. Known to posterity as Clive of India, he was the son of a minor Shropshire squire and rose through the ranks of the British East India Company to become Governor of Bengal. During his time in India he amassed a large collection of Mughal decorative art and miniature paintings (Powis Castle, Powys, NT). Determined to use his foreign fortune to enhance his family’s status and influence at home, Clive employed Sir William Chambers to make alterations at his two properties in Shropshire, Styche Hall (1762–6) and Walcot Hall (1764–7), as well as to his London house, 45 Berkeley Square (1763–7).
In 1769 Clive began building a Palladian villa, Claremont, Surrey, to the designs of Lancelot Brown and Henry Holland, and in 1771 he bought Oakly Park, Ludlow, Salop. That year he started to collect Old Master paintings for Claremont; his principal adviser in this was ...
(b Veracruz, Mar 13, 1880; d Stamford, CT, Jan 10, 1961).
Mexican illustrator, writer, gallery owner, and publisher, active in the USA. He was the son of a wealthy Mexican lawyer and publisher. De Zayas started his career as an artist by providing drawings for his father’s newspaper in Veracruz. In 1906 he moved on to Mexico City’s leading newspaper, El Diario, but a year later, after the ascension of the dictator Porfirio Diaz, whom the newspaper had opposed, he fled to the USA. There he landed a position making caricatures for the New York Evening World. Shortly after his arrival in the USA, he came into contact with Alfred Stieglitz, who staged solo shows of De Zayas’s caricatures at his gallery Gallery 291 in 1909 and 1910, both of which proved to be huge popular successes.
In 1910 De Zayas traveled to Paris, where he stayed almost a year, scouting out adventurous forms of modern art for Stieglitz, notably the cubist work of Picasso and African sculpture. On his return, equipped with knowledge of European modern art and inspired by the work of the French modernist ...
(b Givry, nr Chalon-sur-Saône, Jan 4, 1747; d Paris, April 28, 1825).
French museum director, writer, graphic artist, collector, archaeologist and diplomat. He was the son of a provincial aristocrat. He went to Paris to further his law studies c. 1765 but entered the studio of Noël Hallé. He became Gentleman-in-Ordinary to Louis XV and was appointed keeper of the collection of engraved gems and medals that Mme de Pompadour had left to the King. In 1772 he entered the diplomatic service as attaché to the French embassy at St Petersburg, he was subsequently posted to Stockholm, Geneva (where his disrespectful engraving Repast at Ferney, of 4 July 1775, angered Voltaire) and, from spring 1776, Naples. There he became acquainted with Sir William Hamilton, the British ambassador, and made many drawings of his future wife Emma. Denon began to acquire a diverse collection of paintings and engravings as well as antiquities from excavations at Nola, Catania, Agrigento, Pompeii and Herculaneum. He purchased the painting of the ...
(b Chatou, nr Paris, June 17, 1880; d Garches, Sept 8, 1954).
French painter, sculptor, illustrator, stage designer and collector. He was a leading exponent of Fauvism. In early 1908 he destroyed most of his work to concentrate on tightly constructed landscape paintings, which were a subtle investigation of the work of Cézanne. After World War I his work became more classical, influenced by the work of such artists as Camille Corot. In his sculpture he drew upon his knowledge and collection of non-Western art.
Derain abandoned his engineering studies in 1898 to become a painter and attended the Académie Carrière. He also sketched in the Musée du Louvre and painted on the banks of the Seine. On a visit to the Louvre in 1899 he met the painter Georges Florentin Linaret (1878–1905), who had been his companion at school, and who was copying Uccello in an extraordinary manner; he was studying under Gustave Moreau and later introduced Derain to a fellow pupil, Henri Matisse. Derain’s painting was already influenced by the work of Cézanne, and in ...
English family of graphic artists and painters. John Dighton was a print-seller; his son Robert Dighton (i) (b ?London, ?1752; d London, 1814) exhibited drawings annually from the age of 17 (at first calling himself Deighton) at the Society of Artists and the Free Society. Robert entered the Royal Academy Schools in 1772 and contributed to the Academy exhibitions. He eventually settled at 4 Spring Gardens, Charing Cross, where he owned a print shop and gave drawing lessons, calling himself a drawing-master. By the 1790s he had produced many watercolours and coloured engravings, including A Book of Heads, and had become well known as an actor–singer at Sadler’s Wells Theatre.
Robert was often in financial difficulties and as a remedy stole prints from the British Museum, including a Rembrandt landscape that he competently copied and sold to a dealer. When the theft was traced to Dighton in 1806...
(b Tynemouth, Northumb., Feb 4, 1825; d Weybridge, Surrey, March 27, 1899).
English painter, illustrator and collector. After a short and unsatisfactory period working in the family brewing business, he was able to convince his Quaker parents to allow him to pursue a career in art. He was apprenticed to a wood-engraver, Ebenezer Landells (1808–60), who recognized Foster’s talent for drawing and set him to work designing blocks for engraving. Foster also provided designs for Punch and the Illustrated London News. In 1846 he set up on his own as an illustrator. The rustic vignettes of the seasons that he contributed to the Illustrated London News and its counterpart, the Illustrated London Almanack, established him as a charming interpreter of the English countryside and rural life and led to his employment illustrating similar themes in other publications. During the 1850s his designs were much in demand; he was called upon to illustrate volumes of the poetry of Longfellow, Sir Walter Scott and John Milton. His range was limited, however, and he was criticized for relying on the same rural imagery regardless of the nature of the text....
(b Besançon, Jan 6, 1806; d Paris, Dec 11, 1894).
French painter, lithographer, illustrator and collector. The son of a blacksmith, he attended the school of drawing in Besançon. He left for Paris and in 1828–9 frequented the Ecole des Beaux-Arts while executing various minor works. He made his début at the Salon in 1831 with a number of drawings. He established himself at the Salons of 1833 and 1834 with such sentimental compositions as Henry IV Writing Verses to Gabrielle, St Lambert at Versailles, Count de Comminges, Fortune-telling and such portraits as Laviron and The Blacksmith (1886; unless otherwise stated, all works are in Besançon, Mus. B.-A. & Archéol.; many drawings in Lille, Mus. B.-A. and Rouen, Mus. B.-A.). His portrait of the Phalansterist Fourier (1836) confirmed the success he had achieved as a history painter with the Last Moments of Leonardo da Vinci (1835).
In 1836 Gigoux travelled to Italy with his students ...
Myroslava M. Mudrak
(b Vorozhba, Kharkiv province, Jan 12, 1873; d Caracas, Venezuela, Nov 15, 1952).
Ukrainian architect, painter, illustrator and collector. He received no systematic artistic education and first became known because of his interest in Ukrainian folklore. His prizewinning design for the City Council building in Poltava (1900) formed the basis of a new style, founded on traditions of Ukrainian folk art, and initiated a movement in Ukrainian architecture. Among his other buildings are the People’s House in Lokhvitsa (1904) and the Shevchenko Memorial Museum in Kaniv (1931–4). As a painter, he was influenced by the French Impressionists. The pure, harmonious colours of his southern Ukrainian landscapes convey the lyrical atmosphere of his native land, and he took part in the annual exhibitions of the Union of Russian Watercolourists in St Petersburg (1899–1902) and in the exhibitions of Kiev painters (1910–13). Krychevsky was one of the founders of contemporary Ukrainian book design, reviving the technique of the woodcut and producing over 80 cover designs. He produced set and costume designs for 15 plays and operas in the Sadovs’ky Theatre in Kiev (...
Lilian M. C. Randall
(b Baltimore, MD, May 29, 1824; d Paris, Dec 16, 1909).
American agent and collector. The son of a publisher and book illustrator, Fielding Lucas jr (d 1854), he worked as an engineer for the New York–New Haven Railroad, the Central Railroad of New Jersey and the Croton Aqueduct Board. In 1856 he inherited a sum sufficient to free him to pursue his interest in the arts. The following year he moved to Paris, never to return to America. In Paris, Lucas gained widespread respect in art circles through his work as agent to several American collectors and art dealers. By the mid-1880s he had expended about half a million francs at the behest of William T. Walters, a prosperous businessman also from Baltimore. Lucas was actively involved in the formation of Walters’s collection of 19th-century art, noted for its outstanding works by French Realist, Academic and Barbizon school artists, with works commissioned from such artists as Honoré Daumier, ...
Franco-Italian family of bankers and patrons. By the beginning of the 17th century several members of the family, originally from the Grisons, had become established as bankers in France and Italy. Little biographical information is available, although inventories reveal that three of the sons of Marc-Antoine Lumague (i) (d 1619) became notable patrons: Barthélémy (b Piuro, Grisons; d Lyon, 17 April 1641), Marc-Antoine (ii) (b 1566; d Milan, 1655) and Charles [Carlo] Lumague. The eldest, Barthélémy Lumague, settled in Lyon, where he made gifts to religious foundations, paying for an Italian tabernacle (untraced) for the Convent of the Visitation in 1627 and in 1634 commissioning from Guercino a Christ Showing Heaven to St Theresa (Aix-en-Provence, Mus. Granet) to decorate the family chapel in the church of the Discalced Carmelites. He also built an ambitious country house, the Château de l’Haye at Saint-Genis-Laval, near Lyon; part of its original decoration, including a monumental marble chimney-piece with his coat of arms dated ...
French dealers and publishers. Aimé Maeght (b nr St-Omer, 27 April 1906; d 1981) first worked as a lithographic draughtsman and poster designer, joining the printing firm Robaudy in Cannes at the age of 20. In 1928 he married Marguerite Devaye (b Cannes, 25 April 1905; d 31 July 1977) with whom he opened a shop selling radios in 1932 while still working as a lithographer and advertising designer. In 1937 they opened the Galerie Arte in Cannes, where they exhibited the work of painters such as Georges Rouault, Jean Pougny, Roger Chastel, Henri Lebasque and Jean-Gabriel Domergue. With the encouragement of Pierre Bonnard, a friend of the Maeghts from 1941, and of Matisse and other artists and writers whom they met in the south of France, they decided to devote themselves to art publishing and dealing. In late 1945 they settled in Paris and opened the ...
Alasdair A. Auld
(b Dunfermline, Fife, 1821; d Edinburgh, Dec 25, 1901).
Scottish painter, illustrator, sculptor and collector. From his earliest years he drew avidly, seeking inspiration from ancient history, the Bible and from tales of romance and legend. His father was a keen antiquarian, and his habit of collecting items of historical interest and artistic merit was inherited by his son who amassed a collection, which included arms and armour, now in the National Museum of Scotland, Edinburgh. He used items from the collection in a large number of his paintings such as ‘I wonder who lived in there?’ (1867; Mrs Eva Noël Findlay priv. col.), the Fairy Raid (1867; Glasgow A.G. & Mus.), In die Malo (1881) and Oskold and the Ellé Maids (1874). After three years as head designer in one of the biggest sewn-muslin factories in Paisley, Strathclyde, Paton went to London in 1842. Although he did not take a studentship at the Royal Academy Schools, it was there that he met John Everett Millais, and they became lifelong friends. He won prizes in the Westminster Hall competitions in ...
(b Geneva, Oct 2, 1866; d London, Oct 7, 1931).
English painter, designer, writer and collector. He trained as an illustrator at the City and Guilds Technical Art School, Lambeth, London, where he met and formed a lifelong relationship with Charles Shannon. He identified with the ideals of the Aesthetic Movement, finding inspiration in Renaissance art as well as in the French artists Gustave Moreau and Pierre Puvis de Chavannes. In 1888 he took over James Abbott McNeill Whistler’s house, The Vale, in Chelsea and drew together an artists’ colony. Inspired by the work of A. H. Mackmurdo and William Morris, he set up a small press over which he exercised complete control of design and production, producing art journals and books that included Oscar Wilde’s A House of Pomegranates (1891) and The Sphinx (1894). Ricketts later designed founts, initials, borders and illustrations for the Vale Press (1896–1904), blending medieval, Renaissance and contemporary imagery. His crisp woodcut illustrations often incorporated the swirling lines of Art Nouveau and androgynous figures....
John A. Walker
(b June 9, 1943).
British collector and patron. With his brother Maurice (b 1946), he was one of the major shareholders in one of the largest international advertising agencies. Using wealth generated from the company Saatchi & Saatchi, he and his wife Doris (divorced) acquired in the space of a few years a substantial collection of contemporary fine art. The artists whose work was represented within the Saatchi collection include Julian Schnabel, Andy Warhol, Sol LeWitt, Robert Ryman, Robert Longo, David Salle, Georg Baselitz, Anselm Kiefer and Leon Kossoff. Saatchi was willing to purchase very large-scale pieces, often acquiring several works at a time by one artist, so contributing to a deeper understanding of the artist’s work. The stylistic range of the works in the collection makes it difficult to discern a specific taste. In order to display the collection to the public Saatchi employed the architect Max Gordon (b 1931...
(Jacob Henri Berend)
(b Amersfoort, Oct 24, 1897; d Amsterdam, April 2, 1984).
Dutch museum official, writer, painter and typographer. He studied briefly in 1919 at the Rijksacademie, Amsterdam. Among his friends was Herman Gorter (1864–1927), Dutch poet and founder of the Dutch Communist Party. Between 1922 and 1926 he was involved with the Mazdaznan movement, meeting Johannes Itten in the Mazdaznan centre of Herrliberg, Switzerland. After visiting Piet Mondrian in Paris in 1923 he decided to become an independent artist. In 1927 he studied pictograms with museum director Otto Neurath in Vienna, where he also took classes in psychology from Alfred Adler (1870–1937) and Karl Bühler (1879–1963). In the same year he visited the Bauhaus.
In 1928 Sandberg was given his first typographic commissions by the Stedelijk Museum, Amsterdam. Between 1930 and 1935 he read psychology at the University of Utrecht. From 1934 he organized exhibitions regularly for the Stedelijk Museum: Moholy-Nagy (1934), De Stoel...
(b Nikolayevka, nr Putivl’, Kursk Prov. [now Ukraine], June 13, 1891; d Moscow, June 30, 1978).
. Russian art historian and collector. The foremost Soviet historian of graphic art and a specialist in modern Russian book design, he also studied Western European art from the Renaissance to the 20th century. He was an art history graduate of Moscow University, where he subsequently became a professor (1921), and his first book, indicative of his early interest in Symbolism, was an analysis of Aubrey Beardsley’s art and aesthetics, while his second, the first Soviet book on the subject, examined the relationship of the arts to revolution. Subsequently, as head of the engravings department of the Museum of Fine Arts (now the Pushkin Museum) in Moscow (1927–36) and as one of the founders of the conservative Association of Artists of Revolutionary Russia (AKhRR), Sidorov aligned himself with the right wing of Soviet cultural ideology. In this respect, despite his presiding concern with the synthetic qualities of word and image in book design, he frequently turned his attention to the social background of the creative work in question. The author of around 200 publications, Sidorov’s prolific output was extremely diverse; it includes a series of monographs on artists from Leonardo and Dürer to Käthe Kollwitz, Yelizaveta Kruglikova and Boris Korolyov, articles on Moscow art collections, modern dance and, most significantly, in-depth studies of the history of the Russian book. He was also a leading Soviet collector of graphic art, with almost 10,000 Russian, Soviet and Western European works, now in the ...
(b Pulsnitz, nr Dresden, Jan 28, 1938).
German printmaker, publisher and art dealer. He was self-taught as an artist and produced his first prints and posters in 1960. In 1965 he founded the publishing house Edition Tangente in Heidelberg (now Edition Staeck). In his mass-produced posters, postcards and stickers, aimed at a large audience, he used mainly collage and photomontage techniques. In terms of the social–critical message, the relation between image and text is of prime importance: Albrecht Dürer’s portrait drawing of his 63-year-old mother (1514; Berlin, Kupferstichkab.) was provocatively reproduced on a poster with the caption ‘Würden Sie dieser Frau ein Zimmer vermieten?’ (see 1978 exh. cat., no. 45). In the 1970s, when he actively worked for the political left, he achieved a great deal through irony. He also made purely textual posters (e.g. ‘Die Reichen müssen noch reicher werden’ and ‘Die Mieten müssen steigen—wählt christdemokratisch!’; see 1974 exh. cat., pp. 89–90). In numerous exhibitions and through his publishing house, he attempted to display the political components of art, and this led to a collaboration with ...
British, 19th century, male.
Born 10 August 1798; died 5 January 1873, in London.
Draughtsman, architect, collector. Topographical views, gardens.
George Vivian drew Spanish landscapes and gardens in Rome and Albano.
London (Victoria and Albert Mus.): several drawings
London, 14 March 1997...