1-10 of 41 results  for:

  • Collecting, Patronage, and Display of Art x
  • Artist, Architect, or Designer x
  • Nineteenth-Century Art x
  • Prints and Printmaking x
Clear all

Article

Russian, 19th century, male.

Active between 1809 and 1826 in Moscow.

Engraver (line-engraving).

This artist belonged to the school of the Moscow printer and collector P.P. Beketov. Under the direction of J. Rosanov, N.Z. Sokolov and A.J. Ossipov, Afanasiev engraved a series of three hundred portraits of famous Russians, published in three volumes between ...

Article

French, 19th century, male.

Born 1 May 1786, in Lyons; died 2 July 1872, in Lyons.

Painter, engraver.

Balthazar Alexis started out as an engraver before going on to draw and paint landscapes and portraits. He is best known as an avid collector, whose collection was sold off in Lyons in February ...

Article

Madeleine Fidell-Beaufort

(b New York, March 17, 1822; d New York, Aug 11, 1904)

American wood-engraver, art dealer, collector and philanthropist. Avery’s career as a wood-engraver and his involvement with the New York publishing trade began in the early 1840s. He worked for, among others, Appleton’s, the New York Herald and Harper’s and produced illustrations for trade cards, religious tracts, adventure stories and children’s books. By the early 1850s Avery had begun compiling humorous books and commissioning drawings from such artist-illustrators as Felix Octavius Carr Darley, John Whetten Ehninger, Augustus Hoppin (1827–96), Tompkins Harrison Matteson and John McLenan (1827–66). His business contacts led to close relationships with such artists as Frederick Church, John F. Kensett and William Trost Richards.

By the late 1850s Avery had begun to collect drawings and small cabinet pictures by local artists. Other art collectors, notably William T. Walters, asked Avery’s advice when commissioning works of art. In 1864 he turned his engraving practice over to ...

Article

German, 19th century, male.

Active in Frankfurt am Main around the middle of the 19th century.

Engraver (burin/steel).

In his Handbook for Collectors of Copperplate Engravings ( Handbuch für Kupferstichsammler), Aloys Apell only mentions Backenberg's Love in an ornamental frame. According to Mengs he may also be the creator of the following engavings : ...

Article

Gabriel P. Weisberg

(b Paris, Feb 11, 1830; d Parays, Tarn-et-Garonne, June 3, 1890).

French critic, collector and etcher. He studied drawing and painting before becoming art critic of the Gazette des Beaux-Arts in 1859. His extensive articles examined such issues as the etching revival (see Etching, §II, 4), modernization of the industrial arts, the cult of Japonisme and Impressionism. With his notices in the newspaper Le Rappel (1869–71) and the avant-garde journal La Renaissance littéraire et artistique (1871–2), the periodical of the emerging Symbolist poets, Burty passionately espoused the taste for Japanese art and culture and coined the term Japonisme in 1872. His apartment, which contained a vast collection of Japanese works of art, attracted many collectors also fascinated by Japan, including Edmond de Goncourt, Félix Bracquemond and Edgar Degas. Burty’s meetings and his collection and staunch advocacy of Japonisme influenced many, including his Impressionist friends, in whose compositions the subtle assimilation of Japanese print design is evident. The marriage of Burty’s daughter Madeleine to the entrepreneur ...

Article

Flemish School, 19th century, male.

Born 13 September 1814, in Sept-Fontaines, near Luxembourg; died 19 February 1853, in Ghent.

Engraver, collector.

Article

Andrew W. Moore

(b Norwich, Dec 22, 1768; d Norwich, April 22, 1821).

English painter, printmaker, collector and teacher. The son of a journeyman weaver, he was apprenticed to a coach and sign painter, Francis Whisler, from 1783 to 1790. He presumably continued in this trade and during the 1790s consolidated his artistic training. Early local influences upon Crome included William Beechey and John Opie, but the friendship of Thomas Harvey, a patron, collector and amateur artist, was the most significant. Harvey’s collection included works by Dutch 17th-century masters such as Aelbert Cuyp, Jacob van Ruisdael and Meindert Hobbema, and also works by Gainsborough and Richard Wilson. The earliest record of Wilson’s influence is provided by two oils entitled Composition in the Style of Wilson (untraced), dated 1796 and 1798 in Crome’s Memorial Exhibition of 1821. The Dutch influence was also strong throughout Crome’s career. Crome’s early acquaintance with Harvey and his collection almost certainly encouraged him to become a collector, and the Yarmouth banker ...

Article

Geneviève Monnier

(b Paris, July 19, 1834; d Paris, Sept 27, 1917).

French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group’s exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.

The eldest son of a Parisian banking family, he originally intended to study law, registering briefly at the Sorbonne’s Faculté de Droit in 1853. He began copying the 15th- and 16th-century Italian works in the Musée du Louvre and in 1854 he entered the studio of Louis Lamothe (1822–69). The training that Lamothe, who had been a pupil of Ingres, transmitted to Degas was very much in the classical tradition; reinforced by the Ecole des Beaux-Arts, which he attended in ...

Article

Laura Suffield

(b Paris, May 7, 1869; d Paris, Nov 9, 1927).

French collector, writer and etcher. He began to collect prints at the age of 13 and rapidly established a reputation as a connoisseur and expert, particularly in the field of modern prints. His principal work is the 31-volume series Le Peintre-graveur illustré (Paris, 1906–30); his other publications include works on 19th- and 20th-century prints and c. 500 auction-room catalogues. His own etchings were exhibited at the Salons of 1888 and 1897, and he was an officer of the Société des Peintres-graveurs Français and the Société pour l’Etude de la Gravure Française. His first print collection was sold at auction in 1890, the second in Paris, 13–15 June 1928, comprising 404 lots of modern prints.

with N. A. Hazard: Catalogue raisonné de l’oeuvre lithographié de H. Daumier (Paris, 1904) Le Peintre-graveur illustré, 31 vols (Paris, 1906–30) Manuel de l’amateur d’estampes du XVIII siècle (Paris, 1910) Manuel de l’amateur d’estampes des XIX et XX siècles...

Article

(b Cérilly, nr Moulins, Aug 26, 1823; d Nice, Feb 18, 1902).

French painter, printmaker, collector and writer. Born into a wealthy, aristocratic family, he showed an early talent for drawing but initially trained and registered as a lawyer, though he never practised. In 1845 he entered the Ecole des Beaux-Arts in Paris, studying first under the sculptor Louis-Jules Etex (1810–89) and from 1847–8 under Thomas Couture. From 1849 to 1854 he travelled—to England, Belgium, the Netherlands and finally to Italy, where in 1854 he bought the historic Villa dell’Ombrellino in Bellosguardo outside Florence. He lived there until his return to Paris in 1872, building up an art collection and making engravings. The content of his purportedly large collection has not been established, though he is known to have had a particular love for early Italian Renaissance works and also paintings from the Spanish school. While in Italy he wrote several plays, of which one, Maurice de Saxe, was performed at the Comédie Française, Paris, in ...