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Linda Whiteley

In 

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British, 19th century, male.

Print publisher, engraver.

Robert Ashby was cited by Charles Le Blanc as active in London in 1803. A single engraving is known: H. Ashby, Writing Engraver.

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British, 19th century, male.

Active in London.

Engraver (burin), print publisher.

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French, 18th – 19th century, male.

Engraver, print publisher.

Basset the Elder lived in Paris, on the Rue St-Jacques, and was associated with Françoise Basset. He published a large number of anonymous plates, and also plates by engravers such as Alexis, Blanchard, Fortier, Gabriel, Gatine, Jubin, Rubières and Thiebault. Basset the Elder could be the same as the engraver André Basset mentioned by Heinecken....

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Benard  

French, 19th century, male.

Active at the beginning of the 19th century in Paris.

Painter, publisher, print publisher.

Le Blanc cites his Collection of Engravings ( Un recueil de gravures) based on antique vases.

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French, 19th century, male.

Active in the middle of the 19th century.

Draughtsman, designer of ornamental architectural features, engraver (etching), print publisher.

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German, 18th – 19th century, male.

Born 15 April 1748, in Nuremberg; died 26 February 1812, in Frankfurt am Main.

Engraver, print publisher.

Johann Christian Berndt settled in Frankfurt am Main in 1775, and was granted citizenship there in 1780. He was a pupil of his father and of Preissler, and completed his studies in Leipzig with Oeser and Stock. He then worked in Vienna and Würzburg with his brother Johann Oswald (born around ...

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David Blayney Brown

(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 ...

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Caldera  

French, 19th century, male.

Active in Lyons in 1825.

Engraver, print publisher.

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Judith Zilczer

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 ...

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Italian, 19th century, male.

Active in Rome at the beginning of the 19th century.

Engraver, print publisher.

Le Blanc cites a portrait by Caranzano of Pope Paul V.

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David Alexander

[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...

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Ismeth Raheem

(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 ...

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French, 19th century, male.

Born 1806, in La Rochelle; died 1883, in Vertou (Loire-Atlantique).

Engraver, lithographer, printer, print publisher.

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French, 18th – 19th century, male.

Born 1772, in Nantes; died 1817, in Paris.

Draughtsman, engraver (etching/burin), print publisher.

Alexis Chataigner, a pupil of François-Marie Queverdo, was one of the most prolific engravers of the Revolution and the Empire.

Paris, 14 Dec 1935: The Husband's Departure...

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David Alexander

(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 family, §1), 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....

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French, 18th – 19th century, male.

Active in Versailles.

Draughtsman, engraver (burin), print publisher.

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Born 27 March 1813 in Roxbury, Massachusetts; died 1888 in New York City.

Lithographer, printer, publisher.

Currier & Ives (firm).

At the age of 15 Currier was apprenticed to the Boston lithographic firm of William S. & John Pendleton. In 1833 he worked for the engraver and printer M.E.D. Brown in Philadelphia before going to New York and publishing his own lithographs in ...

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Henry Adams

(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 ...

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Swiss, 19th century, male.

Born 1793, in Zurich; died 1884, in Zurich.

Draughtsman, engraver, print publisher.

Son of the editor Johann-Rudolf Dickenmann, this artist succeeded his father as studio director and supplied a number of aquatint plates for a series of views and panoramas of Switzerland. Several plates were painted in watercolours by his sister, Anna Dickenmann....