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(b London, c. 1758; d Byfleet, Surrey, June 4, 1834).

Miniature painter and publisher. He was originally self-taught and then a pupil of John Smart (1741–1811), whose work he copied and whose style he imitated: between 1783 and 1828 he was an occasional exhibitor at the Royal Academy, being appointed in 1789 painter in watercolours to George III and miniature painter to Queen Charlotte (1744–1818). He was a keen promoter of history painting and in 1792 launched a prospectus for an edition of David Hume’s History of England, to be ‘superbly embellished’ with illustrations engraved after historical paintings by leading artists, including Benjamin West, Robert Smirke, Francis Wheatley and Philippe-Jacques de Loutherbourg. Bowyer also published the Historic Gallery, which, until its failure, with great financial loss, in 1806, provided substantial patronage to history painters and fostered a taste for national history paintings, especially of medieval subjects. The five folios that appeared contained, in addition to engravings of historical paintings, engraved portraits, manuscripts and antiquarian material. Bowyer also published ...

Journal devoted to photography that was published from 1903 to 1917. Camera Work evolved from a quarterly journal of photography to become one of the most ground-breaking and influential periodicals in American cultural history. Founded in January 1903 by photographer Alfred Stieglitz as the official publication of the Photo-Secession, the journal originally promoted the cause of photography as a fine art. As Stieglitz, its editor and publisher, expanded the journal’s scope to include essays on aesthetics, literature, criticism and modern art, Camera Work fueled intellectual discourse in early 20th-century America.

Camera Work mirrored the aesthetic philosophy of its founder Alfred Stieglitz. The journal resulted from his decade-long campaign to broaden and professionalize American photography. Serving for three years as editor of American Amateur Photographer (1893–6), Stieglitz championed the expressive potential of photography and advocated expanded exhibition opportunities comparable to those available in European photographic salons. In 1897, when the Society of Amateur Photographers merged with the New York Camera Club, Stieglitz convinced the enlarged organization to replace their modest leaflet with a more substantial quarterly journal, Camera Notes, which he edited until ...

[Antoine]

(b Brussels, May 15, 1772; d London, April 16, 1813).

Flemish engraver and print publisher, active in London. The son of Antoine Alexandre Joseph Cardon (1739–1822), a painter and engraver in Brussels, he was persuaded by the troubled times to go to London in 1792. He entered the Royal Academy Schools on 3 November 1792 and was engaged by Paul Colnaghi to engrave, under the direction of Luigi Schiavonetti, three of the Cries of London after Francis Wheatley in 1794–6. Cardon was an enterprising man, soon establishing himself as an independent publisher. He took advantage of the peace of 1801, in that year engraving and publishing in Paris and London Joseph Boze’s painting of The First Consul and General Berthier at the Battle of Marengo (untraced) jointly with the painter. He was known to Joseph Farington, who noted some of his activities, such as his purchase of two paintings by Philippe Jacques de Loutherbourg for engraving (4 March 1805...

(b 1854; d England, 1913).

English photographer, publisher and writer. He first travelled to Ceylon (now Sri Lanka) as private secretary to the Bishop of Colombo. In 1870 he set up a small bookshop in Colombo, which by 1884 had diversified into a flourishing publishing house, H. W. Cave & Company, and a printing firm equipped to produce books with excellent quality photographic reproductions. He took a serious interest in photography, and this enabled him to illustrate the pictorial travelogues written by him and published by his own firm. His close supervision of the details of book production and photographic reproduction gave him a competitive edge over other commercial photographers. He returned to England in 1886 after the death of his wife and settled down in Oxford. He made occasional visits to Ceylon, but continued to manage his firm’s business from England.

In his photography Cave specialized in rural and landscape scenes and was especially interested in creating views with luxuriant tropical vegetation, using dramatic atmospheric lighting effects. Some of the best examples of this type of work are reproduced in his lavishly printed travelogues ...

(b Kingston upon Hull, 1770; d London, 12 or March 14, 1812).

English publisher and engraver. He studied in London under Francesco Bartolozzi and engraved a number of book illustrations but was best known as a publisher, issuing the designs by William Blake for Robert Blair’s poem The Grave (London, 1743). In 1805 Cromek commissioned Blake to draw and engrave the designs, but Blake felt betrayed when Cromek engaged Luigi Schiavonetti instead because he saw that Blake’s style of engraving would not please the public (for further discussion see Blake, William). Blake was further annoyed when Cromek commissioned Thomas Stothard to paint the Canterbury Pilgrims (1806; London, Tate; for illustration see Stothard, Thomas), an idea that Blake thought had been stolen from him; in 1809 Blake published a very successful singly issued print of it. Bentley has shown that although Cromek had considerable understanding and sympathy for Blake his treatment of him helped to increase the artist’s isolation....

(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 London, 1747; d Paris, 1823).

English engraver and print publisher. He worked first for the painter Robert Edge Pine, exhibiting mezzotints of Pine’s pictures at the Society of Artists between 1769 and 1773. He then began publishing some of his own mezzotints independently: his portrait of Joseph Banks (Chaloner Smith, no. 4), made in 1774, was the first of 22 excellent mezzotints made after Sir Joshua Reynolds, 12 of which appeared during the 1770s. His 100 or so portrait mezzotints were well drawn and finely scraped; their brilliance was often enhanced by the use of warm brown inks. From 1776 to 1781 Dickinson published prints with Thomas Watson from New Bond Street, London; they engraved and published stipples as well as mezzotints and became the principal publishers of humorous stipples after the amateur artist Henry William Bunbury. In the decade after 1783 Dickinson engraved only two mezzotint portraits, while publishing plates by other engravers, such as his pupil ...

French family of typographers, printers, publishers and collectors. The first to settle in Paris was Denis Didot (2nd half of 17th century), whose son François Didot (1689–1759) founded in 1713 the family publishing business. His sons François-Ambroise Didot (1730–1804) and Pierre-François Didot (1731–93) developed the business, adding a type foundry and a paper-mill. The elegance of their publications brought them the patronage of the brothers of Louis XVI: Monsieur (later Louis XVIII) and the Comte d’Artois (later Charles X). The sons of François-Ambroise included (1) Pierre Didot, a publisher, among whose illustrators were some of the most distinguished artists of the day, and Firmin Didot (1764–1836), who designed the Didot typeface for his brother’s use. Firmin Didot’s son (2) Ambroise Firmin-Didot was a notable collector of prints. The cadet branch of the family, Didot Jeune, the descendants of Pierre-François Didot, included (3) ...

[Antal]

(b Pozsony [now Bratislava, Slovak Republic], 1784; d Vienna, July 13, 1852)

Hungarian engraver, publisher and dealer. He studied under his father József Ehrenreich (1765–1842), a seal engraver, and in 1800 went to the Akademie der Bildenden Künste in Vienna, where in 1806 he won a prize. In the same year he made a portrait of Imre Marczibányi. When he had completed his studies he moved to Buda and worked in the Trattner Press. In 1807 he advertised himself as an engraver, letter engraver and seal engraver, and in 1809 he started dealing. In 1814 he engraved a picture of King David, after a drawing by Johann Nepomuk Hoefel (1788–1864). He did portraits of a number of important people in national political and cultural life, including Johan Spissich, József Ürményi, Miklós Wesselényi, László Kollonits, Archduchess Henrietta, István Ferenczy, Ferdinánd Jakab Miller and Benedek Virág. He also engraved several illustrations for the first Hungarian scientific periodical, the Tudományos Gyüjtemény...

(b Mulhouse, Aug 17, 1788; d Mulhouse, April 25, 1839).

French lithographer and publisher of German birth. After commercial training in Switzerland and in France at La Rochelle and Bordeaux, he studied painting and drawing in Jean-Baptiste Regnault’s atelier in Paris. In July and August 1814 he visited Munich to study the new art of lithography. In March 1815 he founded La Société Lithotypique de Mulhouse, and in June 1816 he opened a workshop in Paris. Engelmann was instrumental in introducing lithography to France. He developed numerous improvements (see Lithography, §I), including lithographic wash in 1819 and a frame for registration (patented in 1837), which gave chromolithography the technical means needed for its commercial and artistic development. His presses produced large numbers of prints; particularly noteworthy are numerous plates for Baron Taylor’s monumental work Voyages pittoresques et romantiques dans l’ancienne France (1820–63).

(b Bayreuth, Oct 8, 1799; d Gleichenberg, June 16, 1863).

Austrian architect, publisher and teacher. In 1818 he went to Vienna to study at the academy. Although Förster pursued an academic career at the academy, as a lecturer (1820–26) and professor of architecture (1842–5), his influence was due mainly to his great ability as a publisher and his untiring work on the urban reorganization of Vienna. In 1836 he founded the Allgemeine Bauzeitung (1836), one of the earliest 19th-century architectural journals. Given the rigid spirit of politics and the arts in Vienna at that time, the Bauzeitung was a bold enterprise, but it succeeded in establishing a long-desired contact with architectural trends in western Europe and in introducing historicist architecture in Vienna and throughout the Austro-Hungarian Empire. Förster’s contribution to the planning of the expansion of Vienna also began in 1836, when he presented his first design. He continued to produce proposals for Vienna until the international competition in ...

(b Abbeville, Somme, March 24, 1756; d 1812).

French engraver and print-publisher, active in England. He entered the Royal Academy Schools, London, in 1771, with the aim of becoming a painter; he exhibited in 1778–81 at the Royal Academy. In 1780 he began to engrave, initially engraving and publishing his own paintings. Some colour prints that he published were among the few English ones printed from several plates, rather than à la poupée. Gaugain built up a successful business; he bought pictures and drawings to engrave as decorative stipples, such as Selling Guinea Pigs and Dancing Dogs (1789–90), after George Morland, which enjoyed a large sale abroad, and the Sailor Boy after William Redmore Bigg, engraved (1791–2) by Thomas Burke. The decline in the export trade probably affected Gaugain more than most print-publishers, as in 1793 his stock of plates was auctioned. He continued to engrave, notably an ambitious Hogarthian set of Diligence and Dissipation...

(b Paris, 1561; d Paris, c. 1635).

French engraver, draughtsman, print publisher and dealer. He was the son of the goldsmith Pierre Gaultier, but probably not, as has been stated, the son-in-law of Antoine Caron and brother-in-law of Thomas de Leu. His first dated engravings (1576; Linzeler, 13–120) form part of a suite of 108 plates illustrating the New Testament. He was a very prolific engraver—his output reached at least 985 prints—and treated various genres, producing religious engravings, allegories, coats of arms and above all portraits and book illustrations. Although he copied the suite of engravings by Agostino dei Musi and B. Daddi after Raphael’s fresco cycle the Loves of Cupid and Psyche in the Farnesina, Rome (l 163–95), most of his work was from his own drawings. His work was published by a number of print publishers: Pierre Gourdelle (fl 1555–88) and, in 1591, by his wife (e.g. the Salvator Mundi, l...

[Hippolyte-Guillaume-Sulpice Chevalier]

(b Paris, Jan 13, 1804; d Paris, Nov 24, 1866).

French lithographer and painter. He was one of the most highly esteemed artists of the 19th century. Like Daumier, with whom he is often compared, he produced around 4000 lithographs for satirical journals and fashion magazines, but while Daumier concentrated on giving a panoramic view of public life, it was said of Gavarni that his work constituted the ‘memoirs of the private life of the 19th century’. He specialized in genre scenes, in which the protagonists are usually young women, treating them as little dramatic episodes drawn from the light-hearted life of bohemia, dear to the Romantics.

Gavarni was initiated into the art of precision drawing while still very young, being apprenticed to an architect and then to a firm making optical instruments. He was also a pupil at the Conservatoire des Arts et Métiers. His first lithograph appeared when he was 20: a miscellany that accorded well with the taste of the time. His second work, the album ...

[Gosset de Guines, Louis-Alexandre]

(b Paris, Oct 17, 1840; d Charenton, May 1, 1885).

French draughtsman. The illegitimate son of the Comte de Guines and orphaned at an early age, he was recommended by the journalist Nadar to Charles Philipon, who hired him to work on the Journal amusant in 1859. At that time he signed himself André Gil; this changed to Gill in 1862. He was very successful during the Second Empire (1852–70) and made a speciality of large caricatures, full of power and movement, that covered the opening pages of satirical magazines — mainly La Lune, an opposition journal created by François Polo in 1865, when Napoleon III’s regime was becoming more liberal. Gill’s attacks reinforced the current of hostility against the regime in the late 1860s. Many of his prints were censored. On 17 November 1867 he drew the Emperor in the guise of Rocambole, a brigand and assassin who was the hero of a popular newspaper serial, and La Lune...

(b Leipzig, Feb 27, 1786; d Berlin, June 5, 1870).

German woodcutter, draughtsman, writer and publisher. He was taught the technique of woodcutting by his father, Johann Christoph Gubitz (1754–1826), and first exhibited prints in 1800 at an exhibition of the Akademie der Künste in Berlin. He became a member of the Akademie in 1805 and succeeded Johann Friedrich Gottlieb Unger (1753–1804) as a teacher of woodcutting and block-cutting, becoming Professor in 1812. He published several periodicals, including Der Gesellschafter (1817–1848), Das Jahrbuch der deutschen Bühnenspiele (1822–65) and the Deutscher Volkskalender (1835–69). He produced many commissioned pieces for these journals and did numerous woodcuts. Until 1829 he principally used the grain from the length of the block to produce designs in the manner of Thomas Bewick’s wood-engravings. Many of his early woodcuts look like copper engravings. From 1829 he preferred the grain from the end of the block. He also printed coloured woodcuts: one of his best-known is the portrait of ...

(fl 1839; d Paris, c. 1889).

French publisher and furniture designer. He was an important disseminator of historical and contemporary designs in 19th-century France. After 1839 he published a constant stream of lithograph designs for furniture, both his own designs and illustrations of the products of commercial firms, which provide an important source for the study of furniture of the period. His chief work was the journal Le Garde-meuble ancien et moderne, which he edited from 1844 to 1882. After 1846 he also published a supplement, L’Ameublement et l’utilité, which soon merged with the parent publication: lithographic designs of seat furniture, case furniture and hangings were reproduced, aimed at both tradesmen and clients. The plates also include general views of interiors and plans of furniture layouts, which give a comprehensive view of the development of styles. Guilmard produced albums recording the furniture shown at the Expositions Universelles of 1844, 1849 and 1855 in Paris and a long series of albums showing designs for particular types of furniture, woodwork fittings or upholstery. He was an important figure in the developing study of historical ornament and design: as early as ...

(b Bloomington, IL, June 19, 1856; d SS Lusitania, off Co. Cork, May 7, 1915).

American designer. He was initially a successful salesman for the Illinois-based Weller’s Practical Soaps. He settled in East Aurora, near Buffalo, NY, and abandoned selling soap in 1893. During a trip to England the following year, he met William Morris and admired the works of his Kelmscott Press. On returning to East Aurora, Hubbard employed his great showmanship to popularize a simplified version of English Arts and Crafts design for a wide audience. With the help of a local press, he began publishing monthly biographies, Little Journeys to the Homes of the Great (1895–1909), the first two of which treat the lives of George Eliot and John Ruskin. Soon after, he founded the Roycroft Press with the publication of The Philistine (1895–1915), a monthly journal combining popular philosophy, aphorisms and brief preachments with crude Art Nouveau lettering and ornament. The Song of Songs (1895), printed on handmade paper with rough and arty bindings, was the first of many Roycroft books. The press became the centre of the ...

(b Mexico City, ?1820; d Mexico City, 1897).

Mexican illustrator and printmaker. He probably began his career in 1847 in the workshop of the Murguía publishing house. In 1854, in collaboration with Andrés Campillo, he created an outstanding series of illustrations for the book Los mexicanos pintados por sí mismos, in which he portrayed character types (e.g. Great Poet, lithograph) in the manner of Honoré Daumier. In 1855 he founded the firm Litografía de Iriarte y Compañía. The following year he published portraits of famous personalities in the weekly review El Panorama. He was a co-founder in 1861 of the political fortnightly La Orquesta, on which he worked for more than ten years as an illustrator and eventually as a caricaturist and as editor. Iriarte continued to contribute to a number of periodicals, including El Renacimiento, and his firm also published the weekly San Baltazar (1869–1870). He collaborated with Santiago Hernández on numerous illustrations for, among others, ...