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Article

(b Holywood, County Down, Ireland, Jan 26, 1922).

Australian painter, printmaker, book designer, lecturer, collector, gallery director and publisher of limited edition artists’ books, of Irish decent. He worked as a draughtsman before entering war service in the British Admiralty from 1940 to 1949, including five years in Colombo, where he made sketching trips to jungle temples with the Buddhist monk and artist Manjsiro Thero. Between 1949 and 1951 Adams worked as an exhibition designer in London and studied wood-engraving with Gertrude Hermes in her evening class at the Central School of Arts and Crafts (now Central St Martin’s College of Art and Design). In 1951, after moving to Melbourne, Adams began a 30-year teaching commitment at the Royal Melbourne Institute of Technology (RMIT), where he instructed many of the younger generation of Australian printmakers, including George Baldessin and Jan Senbergs. A brief return to Britain and Ireland in 1957–8 provided experience with Dolmen Press, Dublin, which published his first book of engravings, ...

Article

Feliciano Benvenuti

Italian family of typographers, engravers, publishers and print dealers. Members of the family were active in Venice and Padua in the 16th century and the early 17th. Most notable among them were Luca Bertelli (fl Venice, c. 1560; fl Padua, 1594), Orazio Bertelli (fl Venice, 1562–88), who was possibly Luca’s brother, and Ferdinando (Ferrando, Ferrante) Bertelli (fl Venice, 1561–72). It is difficult to determine the extent of Luca Bertelli’s participation in the execution of the prints he published; they were mainly historical, religious and mythological. Orazio Bertelli probably encouraged Agostino Carracci’s visit to Venice in 1582. Orazio’s engravings included the works of Federico Barocci, Domenico Tibaldi and Paolo Veronese, notably a Pietà (De Grazia, p. 125, no. 102). Ferdinando Bertelli was best known for his publication of a vast number of maps, by both Italian and foreign cartographers.

DBI; Thieme–Becker D. De Grazia: Le stampe dei Carracci...

Article

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 ...

Article

Véronique Meyer

(b Lyon, May 28, 1699; d Paris, April 14, 1771).

French printmaker, print publisher and print-seller. Early in his life his family removed to Paris. His father, Jean-François Cars (1661–1730), an engraver and publisher, was his first teacher. He next studied painting under Joseph Christophe (1662–1748) and François Lemoyne and then completed his studies in engraving under Nicolas-Henry Tardieu. In 1729 he was approved (agréé) by the Académie Royale and on 31 December 1733 was received (reçu), on presentation of the engraved portraits of Michel Anguier after Gabriel Revel and of Sébastien Bourdon after Hyacinthe Rigaud. From 1750 he gradually abandoned engraving in favour of print-selling, particularly those of his father’s collection. In 1757 he was appointed a Conseiller. His work included nearly 190 prints; he engraved portraits, historical and mythological subjects after Lemoyne, such as Hercules and Omphale and the Bath of Iris, and genre subjects after Watteau, such as Figures de différents caractères...

Article

Véronique Meyer

(b Blois, March 20, 1680; d Paris, April 15, 1729).

French engraver, print publisher and print-seller. He was the son of a joiner and was trained in Girard Audran’s workshop in Paris. In 1715 he was accepted (agréé) by the Académie Royale and was received (reçu) in 1718 with his engraving after a Self-portrait by Louis Boullogne (i) (Roux, no. 28). In that same year he bought Girard Audran’s business, called Les Deux Piliers d’Or, from his widow, and with it part of its stock of plates. He published chiefly high-quality prints and was one of the first to be interested in engravings after Watteau. He was esteemed as an engraver, even though his oeuvre comprises only 56 finished plates. Although Chéreau engraved some paintings on sacred subjects after such artists as Domenichino, Guido Reni (Crucifixion, r 4) and Raphael (St John the Baptist in the Wilderness, r 2, for the Recueil Crozat), he chiefly engraved portraits, a genre in which, according to Pierre-Jean Mariette, only the Drevet family could rival him. Most of the portraits are engraved after ...

Article

(b Antwerp, c. 1560; d Antwerp, June 29, 1618).

Flemish draughtsman, engraver, print publisher and dealer. He was probably trained by the engraver and publisher Philip Galle, whose daughter Justa (d 1616) he married in 1586, and with whom he collaborated. In 1580 Adriaen was admitted to the Antwerp Guild of St Luke as a master’s son; in 1596 and 1597 he was respectively assistant dean and dean. Collaert produced a notable and extensive oeuvre of c. 600 engravings, including various series after his own drawings of birds, fish and animals (e.g. Animalium quadrupedum, Hollstein, nos 596–615; and Avium vivae icones, 1580; Hollstein, nos 616–47). Also after his own designs are the series of engravings of the Four Elements (pubd by himself; Hollstein, nos 453–6) and Flowers (pubd by Theodoor Galle; Hollstein, nos 679–702). All these rather uneven compositions are characterized by the faithful representation of nature. Collaert’s own compositions often include decorative borders consisting of flowers, animals and grotesques. This suggests he was important as a designer of ornament. However, by far the majority of his work comprises engravings after other Netherlandish artists, including ...

Article

Jacques Kuhnmünch

(b ?Nancy, c. 1610; d Rome, bur Jan 18, 1687).

French engraver, print-seller and publisher, active in Italy. After a four-year apprenticeship sometime between 1622 and 1630 in the studio of Jacques Callot, he went to Rome to finish his training as an engraver. Collignon is chiefly known as a print-seller and publisher, however. After a modest start in Paris, he settled in the Parione district of Rome. Details of his estate, posthumously published, reveal that he was a major figure in publishing and print-selling. Sometime after 1650 he and Giovanni Giacomo Rossi were the joint publishers of Pietro Testa’s engravings, and Collignon also published plates by Cornelis Bloemaert (ii) after Pietro da Cortona, Nicolas Poussin and Charles Le Brun. He also handled engravings by Simon Vouet and François Spierre as well as large numbers of prints by Nicolas Pérelle and Jean Le Pautre. On Collignon’s death, his business was bought up by the Antwerp dealer Arnold van Westerhout (...

Article

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 ...

Article

Véronique Meyer

(b Paris, April 1662; d Paris, Jan 6, 1757).

French printmaker, print-seller and print publisher. He was a pupil of Guillaume Vallet (1632–1704). He was appointed Graveur du Roi and accepted (agréé) by the Académie Royale in 1704; he was received (reçu) in 1707 with his portraits, both after Hyacinthe Rigaud, of Charles de La Fosse (Roux, no. 10) and François Girardon (r 9). He enjoyed a considerable reputation: according to Claude-Henri Watelet he was one of the printmakers who were able to produce the softest effects in engraving and who knew how best to suggest the velvety texture of a woman’s skin; in this domain he was often imitated but never equalled. His reproductions of Corregio’s Io (r 8), Leda (r 16) and Danaë (r 33) are among the most celebrated of his works, which are not numerous; only 58 have been identified, probably owing to his activities as a print publisher. He distributed works by Laurent Cars and his family, by Jacques-Philippe Lebas and by the Audran family. He also collaborated with ...

Article

Júlia Papp

[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...

Article

Marianne Grivel

(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...

Article

American, 19th century, male.

Born 1823; died 1883.

Photographer, writer, editor.

After working for several years as a daguerreotypist throughout Ohio, North Carolina and New York, Samuel Dwight Humphrey opened a studio on Broadway in New York City in 1850. In November 1850 he began publishing ...

Article

Madeleine Barbin

(b Orléans, May 7, 1695; d Paris, June 11, 1772).

French collector, engraver, print-publisher and print-seller. He was probably led to study engraving by his taste for collecting prints and drawings. He made no innovations in the engraving process, but used etching lightly reworked with the burin, a method suited to reproducing the sort of drawings that he usually chose as models, most of them coming from his own collection.

Huquier’s engravings are mostly of work by contemporaries, sometimes in the form of single engravings, but mostly in books of six, twelve, or sometimes more plates. They are rarely dated. He began by reproducing the works of Claude Gillot, including La Vie de Notre Seigneur Jésus-Christ (Bruand, Hébert and Sjöberg, nos 695–754) and Scènes comiques du Théatre italien (c. 1729–32; bhs 755–66). Among other works by Antoine Watteau, he engraved 12 arabesques (bhs 1711–44) for the Recueil Jullienne. He also engraved Edme Bouchardon’s Livre de vases...

Article

Maxime Préaud

[Chartres, de; Ciartres]

(b Chartres, bapt May 12, 1588; d Paris, Jan 13, 1647).

French print-publisher and seller, bookseller and painter. Between 1610 and 1614 he was apprenticed to Pierre-Louis Febvrier, a bookseller in Paris. He visited Rome in 1613 and 1614, and Genoa, Florence and Rome again in 1621; in the course of these travels he became friendly with Anthony van Dyck, who executed his portrait (Viscount Cowdray priv. col.), and with Claude Vignon, Stefano della Bella and François Collignon. It was probably at this period that he acquired the nickname of Chartres, or (in Italian) Ciartres. In 1624 and 1625 he dealt in paintings in association with Vignon, while also collecting prints for Thomas Howard, 14th Earl of Arundel, and for Charles I of England.

In 1629, while on his way to Italy with Matthieu Fredeau, a painter from Antwerp, Langlois collaborated with him on the Rosary altarpiece in the Dominican church in Aix-en-Provence. Around that time he embarked in earnest on a career as a print-publisher, beginning with illustrated books, which he published in collaboration with ...

Article

Maxime Préaud

French family of engravers, print-sellers and print-publishers. Nicolas de Larmessin I (bapt Paris, 17 Oct 1632; d Paris, 23 July 1694) was the son of the bookseller Nicolas de Larmessin. In 1647 he was apprenticed to the engraver Jean Mathieu (fl 1618–46), and in 1654 he married the daughter of the print-publisher and print-seller Pierre Bertrand (d c. 1678). Larmessin first worked for his father-in-law, particularly on the execution of series of portraits and almanacs, such as that of Anne of Austria (1663; see Weigert, no. 16). After Bertrand’s death and that of his widow (c. 1685), Larmessin took over their publishing business in the Rue St Jacques at the sign of the Golden Apple.

Nicolas de Larmessin II (b Paris, c. 1645; d Paris, 18 Dec 1725) was the brother of Nicolas I, with whose works his own are often confused; he engraved almanacs but is known particularly for his series of prints depicting grotesque costumes [...

Article

Marianne Grivel

(b Paris, c. 1555; d Paris, c. 1612).

French engraver, publisher and print dealer. The son of a dealer in Audenarde, he worked first at Antwerp for Jean Ditmar (c. 1538–1603) and then went to Paris before 1580 to work for the painter and engraver Jean Rabel (1540/50–1603). He married first Marie, daughter of Antoine Caron, in 1583, and secondly, in 1605, Charlotte Bothereau. He skilfully moved from the side of the militant Catholic League in the Wars of Religion to that of Henry IV, and as a result made himself a fortune. He ran a busy workshop and published large numbers of prints by other hands. Among his apprentices were Jacques Honnervogt (fl 1608–35) and Melchior Tavernier (c. 1564–1641). His first dated engraving is Justice (1579; Linzeler, no. 57), after Federico Zuccaro. He specialized mainly in portraiture (more than 300 plates), for example Catherine de’ Medici...

Article

Christina Lodder

(Vasil’yevich)

(b Nizhny Novgorod, 1861; d Leningrad [now St Petersburg], Oct 14, 1934).

Russian painter, patron, musician, writer and publisher. He pursued a highly original line of artistic thought and practice and developed an organic perception of the world, deriving his inspiration from nature rather than machines, unlike many of his Russian Constructivist contemporaries.

Matyushin trained initially as a musician at the Moscow Conservatory (1878–81) and played the violin in the Court orchestra in St Petersburg from 1881 to 1913. In 1889 he began to attend the School of the Society for the Encouragement of the Arts in St Petersburg, where he studied painting with Yan Tsionglinsky (d 1914). In Tsionglinsky’s studio he met the artist and writer Yelena Guro, whom he married. Later (1906–8) he studied with the World of Art (Mir Iskusstva) painters Léon Bakst and Mstislav Dobuzhinsky at the Zvantseva School of Art in St Petersburg.

In 1909 Matyushin briefly joined the circle around Nikolay Kul’bin and the following year he founded the ...

Article

Ingrid Sattel Bernardini

(b Basle, April 4, 1737; d Berlin, Nov 4, 1817).

Swiss engraver, publisher and dealer, active in France and Germany. Although he was apprenticed in 1753 to the engraver Georg Daniel Heumann (1691–1759) in Nuremberg, his friendship with the brothers Johann Justin Preissler (1698–1771) and Georg Martin Preissler (1700–1754) was of greater importance. He continued his education (1755–7) with Johann Georg Pintz (1697–1767) in Augsburg, then went to Paris in 1757, to the academy of Jean-Georges Wille, who not only nurtured his taste for realistic representation of a landscape but also transformed him into a courtier and shrewd businessman. From 1760 to 1764 Mechel ran his own engraving studio in Paris, printing and distributing his own work and that of such engravers as L. de Montigny, Elie Mesnil (b 1728), Joseph Jean Halle (1740–1805), Jean-Baptiste de Lorraine (b 1731) and Antoine Louis Romanet (...

Article

(b Weesp, Jan 4, 1726; d Amsterdam, Dec 20, 1798).

Dutch timber merchant, collector, printmaker, print publisher, draughtsman and art theorist. He was one of the most important Dutch dilettanti of the 18th century. His interest in art began at an early age, and from the age of 12 he was taught drawing by Norbert van Bloemen (1670–1746). Two years later he began to learn the timber trade with Johannes Bontekoning, in whose firm, Bontekoning and Aukes, he became a partner in 1756. Ploos’s first mezzotint dates from that year. He made drawings throughout his life, in a technically skilled rather than original style, and designed book illustrations. In 1758 he married Elizabeth, daughter of Cornelis Troost.

In the meantime Ploos van Amstel assembled a fabulous collection of drawings (he possessed over 7000 when he died), prints (including many topographical prints of Amsterdam), paintings, sculptures, enamels, medals, coins, scientific instruments and optical tools, and manuscripts and printed books. His special interest in drawings, particularly those by Dutch artists from the 17th and 18th centuries, is reflected in his ...

Article

Sepp Kern

(b Pulsnitz, nr Dresden, Jan 28, 1938).

German printmaker, publisher and art dealer. He was self-taught as an artist and produced his first prints and posters in 1960. In 1965 he founded the publishing house Edition Tangente in Heidelberg (now Edition Staeck). In his mass-produced posters, postcards and stickers, aimed at a large audience, he used mainly collage and photomontage techniques. In terms of the social–critical message, the relation between image and text is of prime importance: Albrecht Dürer’s portrait drawing of his 63-year-old mother (1514; Berlin, Kupferstichkab.) was provocatively reproduced on a poster with the caption ‘Würden Sie dieser Frau ein Zimmer vermieten?’ (see 1978 exh. cat., no. 45). In the 1970s, when he actively worked for the political left, he achieved a great deal through irony. He also made purely textual posters (e.g. ‘Die Reichen müssen noch reicher werden’ and ‘Die Mieten müssen steigen—wählt christdemokratisch!’; see 1974 exh. cat., pp. 89–90). In numerous exhibitions and through his publishing house, he attempted to display the political components of art, and this led to a collaboration with ...