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Swiss, 18th – 19th century, male.

Born 31 December 1758, in Zollikon, near Zurich; died 25 January 1823, in Feuerthalen.

Painter (gouache), illuminator, draughtsman, engraver. Landscapes.

In his youth, Johann Heinrich Bleuler learnt porcelain painting at the Kilchberg-Schooren works, but gave it up to devote his energies to an artistic career, studying under Heinrich Uster. He then worked for Matthäus Pfenninger in Zurich, producing topographical views of Switzerland. Around ...


Alastair Laing

(b Paris, Sept 29, 1703; d Paris, May 30, 1770).

French painter, draughtsman and etcher. Arguably it was he, more than any other artist, who set his stamp on both the fine arts and the decorative arts of the 18th century. Facilitated by the extraordinary proliferation of engravings, Boucher successfully fed the demand for imitable imagery at a time when most of Europe sought to follow what was done at the French court and in Paris. He did so both as a prolific painter and draughtsman (he claimed to have produced some 10,000 drawings during his career) and through engravings after his works, the commercial potential of which he seems to have been one of the first artists to exploit. He reinvented the genre of the pastoral, creating an imagery of shepherds and shepherdesses as sentimental lovers that was taken up in every medium, from porcelain to toile de Jouy, and that still survives in a debased form. At the same time, his manner of painting introduced the virtuosity and freedom of the sketch into the finished work, promoting painterliness as an end in itself. This approach dominated French painting until the emergence of Neo-classicism, when criticism was heaped on Boucher and his followers. His work never wholly escaped this condemnation, even after the taste for French 18th-century art started to revive in the second half of the 19th century. In his own day, the fact that he worked for both collectors and the market, while retaining the prestige of a history painter, had been both Boucher’s strength and a cause of his decline....


French, 18th – 19th century, male.

Painter, engraver (burin). Allegorical subjects, genre scenes.

Active in Paris around 1780, he was still living in the city in 1815. His works include The Coppersmith, after G.-M. Kraus, the Pottery-Mender, after G.-M. Kraus, Woman Pressing her Breast, and an ...


Flemish School, 18th century, male.

Born 1724, in Bruges.


Paulus Cryffle was a pupil of Jan van Heecke. He was active in Paris from 1741 to 1748 and was appointed director of the Lunéville porcelain works by Stanislas Leczinsky; after the latter's death, Cryffle went to Vienna. He was sent to Prince Charles in Brussels by Empress Maria Theresa....


Czech, 18th – 19th century, male.

Painter (glazed earthenware/porcelain), engraver.

Johann Degotschon worked at the porcelain factory in Proskau (now Proszków) in Silesia and went on to found a porcelain factory at Tillowitz with the backing of Count Praschma in or shortly after 1800.


Hungarian, 18th – 19th century, male.

Born 16 March 1764, in Sopron; died c. 1814.

Painter, engraver. Portraits.

Joseph Dorfmeister studied at the Akademie der Bildenden Künste in Vienna. He produced engravings from works by Potter and Ruthart.

Vienna: Portrait of a Man


German, 18th century, male.

Active in Potsdam.

Modeller, painter, engraver.

Johannes Eckstein II exhibited an equestrian statue of Frederick II as a Roman emperor at the Berlin academy in 1786, clay sculptures in 1788, and a painting of The Family of Darius before Alexander the Great...


Italian, 18th century, male.

Painter, engraver.

Angelo Fiaschi was retained from 1757 to 1791 by the Doccia porcelain factory near Florence. Of his engravings, a Body of Christ and Death of a Christian are known.


Italian, 18th century, male.

Active in Este.

Engraver, potter.

Giralomo Franchini engraved illustrations for Ricerche Stor.-Crit. delle Antichita di Este published by Alessi in 1776.


David Alexander

(b in or near Dublin, c. 1710; d London, April 2, 1762).

Irish painter, mezzotint-engraver and porcelain manufacturer, active in England. He probably trained in Dublin, benefiting from the example of the portrait painter James Latham. However, there were few opportunities for portrait painters in Dublin, and by 1735 he had moved to London. He was sufficiently established by 1736 to be commissioned by the Saddlers’ Company, London, to paint a full-length portrait of Frederick, Prince of Wales (destr.; version, Windsor Castle, Berks, Royal Col., see Millar, no. 543). Frye engraved this portrait himself in mezzotint (1741; see Chaloner Smith). He also worked as a miniature painter, both in oil and in pencil. He quickly matured into a confident and assured portrait painter and could undoubtedly have made a greater name for himself, but he chose to join Edward Heylyn (1695–after 1758) in the attempt to produce porcelain at the Bow Factory, London. In 1744 they took out a patent for a new method, using china clay brought to England from the North American colony of Georgia by ...