[Anhalt, Duke of]
(b Dessau, Aug 10, 1740; reg 1756–1817; d Dessau, Aug 9, 1817).
German ruler and garden designer. After leaving the Prussian Army in 1757, he devoted himself to governing Dessau, instituting provision for the poor, public health and education. He made four journeys to England (1763–85) with Friedrich Wilhelm Erdmannsdorff, with whom he also travelled through Italy (1765–6). He studied for six months with Johann Joachim Winckelmann, whose ‘mimetic theory of the Ancients’ he realized in his garden designs. With Erdmannsdorff and his planters, he created gardens at Luisium (1774) and Sieglitzer Berg (1777) and most notably at Wörlitz (1764–1810), based on such English models as The Leasowes (Worcs), Stowe (Bucks), Kew Gardens (London) and Stourhead (Wilts). He was acquainted with William Chambers, Henry Holland, Sir William Hamilton (i) and possibly also Henry Flitcroft and ‘Capability’ Brown. As well as introducing the English landscape garden and Palladian country house to the Continent, the Prince also transplanted the Gothic Revival. The ‘Country House’ and ‘Gothic House’ at ...
David Blayney Brown
(b Great Dunmow, Essex, Nov 6, 1753; d Coleorton, Leics, Feb 7, 1827).
Amateur painter and draughtsman, collector and patron. He was the quintessential amateur, whose interests extended to literature and drama as well as to art; he became the leading arbiter of taste of his day. The painter Thomas Hearne described him as the ‘supreme dictator on works of art’. While Beaumont strongly supported new trends in poetry and did much to foster the careers of William Wordsworth and Samuel Coleridge, he maintained essentially 18th-century standards in his connoisseurship. His love of art had begun at Eton College, where he was taught drawing by Alexander Cozens; it was confirmed in 1771 by a meeting with the engraver William Woollett and Hearne, then Woollett’s pupil. Subsequently Beaumont was guided by a succession of distinguished artists including John Robert Cozens, Joshua Reynolds, Thomas Gainsborough, Richard Wilson, Thomas Jones, Joseph Farington, Benjamin West, Thomas Girtin and John Constable. His own work, of which there is a large collection in the ...
(b Toulouse, 1766; d Paris, 1826).
French dealer, restorer and painter. He may have begun his career as a protégé of Henri-Auguste de Chalvet, a collector and Associate Member of the Académie des Beaux-Arts in Toulouse. His first teachers were Pierre Rivalz and Lambert-François-Thérèse Cammas. He moved to Paris shortly before the French Revolution but went almost immediately to London, where he established himself as a portrait painter, exhibiting at the Royal Academy in 1794 and 1795. He returned to Paris in 1796 and that year sent three portraits to the Salon. In 1799, he exhibited the curiously Romantic Girl Surprised by a Storm (New York, Brooklyn Mus.). The following year he achieved popular success with Woman of Property Begging (England, priv. col.). His talents as a portrait painter were particularly admired: surviving examples are Adrien Segond (1812; Paris, Louvre) and Dieudonné Jeanroy (1812; U. Paris V, Fac. Médec.). His style of painting reflected contemporary admiration for highly finished works in the manner of 17th-century Dutch artists....
Simonetta Prosperi Valenti Rodinò
(b Busto Arsizio, Nov 11, 1777; d Milan, Dec 15, 1815).
Italian painter, collector and writer. He studied painting at the Accademia di Brera in Milan. Between 1785 and 1801 he lived in Rome, where he met such Neo-classical artists as Angelica Kauffman and Marianna Dionigi (1756–1826) as well as writers, scholars and archaeologists, notably Jean-Baptiste Séroux d’Agincourt, Giovanni Gherardo de Rossi (1754–1827) and Ennio Quirino Visconti. While in Rome he studied Antique and Renaissance works, making copies of the statues in the Museo Pio-Clementino and the frescoes by Raphael and Michelangelo in the Vatican, also furthering his studies of the nude in the Accademia di Domenico Conti and making anatomical drawings of corpses in the Ospedale della Consolazione. On his return to Milan in 1801 he became secretary to the Accademia di Brera, a post he held until 1807. During this period he devoted all his efforts to the restructuring of the Brera, providing it with new statutes and a major library and also founding the adjoining art gallery. He prevented numerous works from being smuggled abroad or dispersed and was responsible for their inclusion in the ...
(b London, 1756; d London, Jan 7, 1811).
English painter and art collector of Swiss descent. Born to a family of Swiss watchmakers in London, Bourgeois was apprenticed as a boy to P. J. de Loutherbourg. The latter heavily influenced his art, which was to elevate him to membership of the Royal Academy in 1793. Bourgeois specialized in landscape and genre scenes and achieved recognition in his own day with works such as Tiger Hunt and William Tell (both c. 1790; London, Dulwich Pict. Gal.), but his works are no longer regarded as of any note.
Bourgeois was linked from an early age with Noël Desenfans, who in effect adopted him when his father left London for Switzerland. Desenfans promoted Bourgeois’s reputation as an artist and involved him in his own activities as a picture dealer. Bourgeois became passionately interested in buying paintings, and in the last 15 years of his life bought considerable numbers, sometimes creating financial problems for the partnership. His taste was characteristic of the traditional Grand Manner of his time, concentrating on the great names of the 16th and 17th centuries, particularly academic works and paintings of the Netherlandish schools....
Japanese, 18th – 19th century, male.
Born 1776; died 1853.
Painter. Landscapes, animals.
Nanga (literati) school.
Chikuto was the son of a doctor in Nagoya. At the age of 15, he became the protégé of the rich businessman and collector Kamiya Ten’yu, who was also from Nagoya and through whom he met many artists and studied Chinese pictorial techniques. It was through Tenyu that Chikuto made the acquaintance of the painter Yamamoto Baiitsu (...
Italian, 18th – 19th century, male.
Born 27 November 1767, in Ferrara; died 5 March 1834, in Venice.
Painter, collector. Landscapes. Decorative schemes.
Cicognara was active in Venice and Ferrara, executing mostly landscapes and decorative paintings. He was president of the fine arts academy in Venice, and a noted critic, theorist and historian, publishing ...
Stephen T. Clarke, Harley Preston and Lin Barton
English family of silversmiths, industrialists, collectors, and patrons, of French origin. The family originated from the town of St Pierre on the Ile d’Oléron off La Rochelle. They arrived in London a few years after the Revocation of the Edict of Nantes in 1685, and between 1708 and 1780 three generations of Courtauld silversmiths were registered at the Goldsmiths’ Company. Augustine Courtauld (c.1686–c. 1751) was apprenticed to Simon Pantin in 1701 and, after becoming a freeman of the Goldsmiths’ Company in 1708, he started a business as a plateworker in Church Court, off St Martin’s Lane in London. The majority of his work is of high quality, for example a silver tea-table (1742; St Petersburg, Hermitage) and the state salt of the Corporation of the City of London (1730; London, Mansion House). Augustine’s brother Pierre Courtauld (1690–1729) registered a mark in 1721...
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 ...