Search Results

[Rudolf]

(b Stollberg, Saxony, April 20, 1764; d Finchley, London, March 30, 1834).

English publisher and patron of German birth. He trained as a carriage designer in Paris and moved to England between 1783 and 1786. He established his own business as a carriage maker, undertaking major commissions in London and Dublin. In 1804 he designed Pius VII’s carriage for the coronation of Napoleon and in 1805 the funeral carriage of Horatio, Viscount Nelson. By 1800 Ackermann had built up a unique business at 101 The Strand, London, known as ‘The Repository of Arts’. This encompassed a drawing school with 80 pupils, the sale and loan of Old Master paintings and watercolour drawings, the publication of decorative prints and illustrated books and the manufacture of watercolour paints including a number of new chemical pigments.

In the early 19th century, Ackermann was an important and regular patron of English watercolour painters, employing William Henry Pyne, Augustus Charles Pugin, Thomas Heaphy, Frederick Mackenzie (1787–1854...

(b Burgess Hill, Sussex, 1849; d London, Aug 17, 1933).

English architect, editor and draughtsman. After completing his articles with H. N. Goulty of Brighton, he became assistant to William Ralph Emerson, and Architect to Brighton Council. Between 1872 and 1923 he was Editor of Building News. He instituted the Building News Designing Club, which enabled young architects to submit designs for his criticism. He contributed largely to the paper’s illustrations, redrawing designs for lithographic reproduction, and covered a wide range of subjects in a skilful and accurate, if somewhat dull, linear style. He also published several architectural books. Through the owner of Building News he obtained his major architectural commissions, notably Camberwell Polytechnic and Art Gallery (1902). He also designed country houses near London, for example Queensmead Cottage, Kings Road, Windsor, Berks (1883), for Reginald Talbot, as well as in Australia (e.g. Bellevue Hill, Double Bay, for Charles B. Fairfax in the mid-1880s) and America, where he designed timber houses in New Jersey for E. S. Wilde in ...

(b Amsterdam, Aug 13, 1820; d Amsterdam, March 17, 1889).

Dutch writer, critic and collector. He was raised in a cultivated and artistic merchant family but preferred writing to commerce. In addition to serving as an editor of the Volksalmanak voor Nederlandsche Katholieken, he published the Dietsche Warande. His lifelong advocacy of Roman Catholic emancipation is reflected in many of his short stories (written under the pseudonym Pauwels Foreestier) concerning Catholic life in 17th-century Holland. In 1876 he was appointed professor of aesthetics and the history of art at the Rijksacademie voor Beeldenden Kunsten, Amsterdam. An architectural preservationist and an important critic of the art and architecture of his time, he asserted that art should serve a religious function, as it had during the Middle Ages. It should be social, idealistic and transcendental. In his ideal society the arts would form a harmonious unit under the heading of architecture. His brother-in-law P. J. H. Cuypers was the leading Dutch architect of the day, whose career was assisted by Alberdingk Thijm’s advocacy of Gothic Revivalism in architecture. Alberdingk Thijm was particularly opposed to the painters of the Barbizon and Hague schools, whose work he considered to have no underlying purpose. Rather, he preferred the Düsseldorf school, which displayed a knowledge of history and literature. His large collections reflected his philosophical orientation. His numerous 17th and 18th-century Dutch paintings, mostly by minor masters, represented all the genres. He also owned a large collection of drawings and prints, as well as books, manuscripts and religious art from the Middle Ages and Renaissance, which included a Gothic ciborium, a Byzantine crucifix and embroideries on silk, which were dispersed at auction after his death (Amsterdam, Muller, ...

(b Monceaux-sous-Paris, 1790; d 1849).

French dealer, print-publisher and collector, of English descent. His father, William Arrowsmith, was an agent for members of the Orléans family. Through his brother-in-law Louis Daguerre, John Arrowsmith was instrumental in negotiating the installation of the Diorama in Park Square East, Regent’s Park, London, opened in 1823 (see Diorama). In 1822, on one of his frequent visits to London, he saw Constable’s The Haywain (1821; London, N.G.) at the British Institution and shortly after began negotiations to buy it in order to exhibit it in Paris. He purchased it in 1824, along with View on the Stour near Dedham (San Marino, CA, Huntington Lib. & A.G.) and a smaller seascape, and in June 1824 exhibited them at his premises at 1, Rue Grange-aux-Belles, Paris. He sent the two larger landscapes to the Salon of 1824, as well as a view of Hampstead Heath. He was one of a small group of dealers attempting to specialize in the sale of works by living artists, and his contacts with England were particularly useful during the 1820s, when an enthusiasm for English literature and art was widespread among young French artists who were part of the Romantic movement. Between ...

Austrian family of publishers of Italian descent. The family originally came from Blevio, near Como, in northern Italy, and in the mid-18th century worked as itinerant art dealers in Germany and Austria, offering an extensive range of English and French prints to the public. Francesco Artaria (b Blevio, 1744; d Vienna, 1808) and his cousin Carlo Artaria (b Blevio, 1747; d Vienna, 1808) settled in Vienna in the 1760s, establishing the firm Artaria & Co. in 1770. In 1774 they took over a subsidiary firm based in Mainz that had been founded in 1765 by their uncle Giovanni Casimiro Artaria (1725–97). Shortly after 1793, however, this branch relocated to Mannheim, where it eventually became Artaria & Fontaine. In Vienna, Artaria & Co. established its headquarters in the Kohlmarkt and began to specialize in the publication of prints. In 1775–6 it published its first large volume of copper engravings, ...

(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 ...

(b Camerata, Florence, Sept 17, 1830; d Florence, June 29, 1868).

Italian sculptor. He began as a stonecutter in the quarries at Fiesole. He was sent by the learned printer Francesco Inghirami to study in Florence, first (1844–5) with Pio Fedi (1816–92) and then (1845–8) with Girolamo Torrini (d before 1858), with whom he collaborated on the statue of Donatello for the portico of the Uffizi. In line with the prominence of the Purismo movement in Florence in that period, Bastianini greatly admired Renaissance sculpture, which became his main source of inspiration. From 1848 to 1866 he was under contract to the antique dealer Giovanni Freppa (fl 1842–66), who supplied him with casts and models as well as a stipend in exchange for which he executed numerous neo-Renaissance works, especially busts and bas-reliefs, most of which were sold as authentic.

Among Bastianini’s first forgeries are two probably stone bas-reliefs: The Singer...

[Bernheim]

French family of dealers and publishers. Joseph Bernheim (b Besançon; bapt 31 March 1790; d 1859) was a colourman and artists’ supplier in Besançon. His son Alexandre Bernheim-Jeune (b Besançon, 3 April 1839; d Paris, 2 March 1915) moved to Paris in 1863 and two years later set up a gallery there in the Rue Laffitte, apparently on the advice of Courbet, who was, like himself, a native of the Franche-Comté region. Bernheim-Jeune knew Delacroix and Corot and was at first particularly associated with the Barbizon school and with Théodule Ribot, exhibiting the latter’s work in 1887 and 1890. Part of the family’s business was established in Brussels as early as 1867 and the family presumably moved there—as did several other dealers—during the Franco-Prussian War (1870–71). Alexandre’s two sons, Joseph (‘Josse’) Bernheim-Jeune [Bernheim d’Auberville] (b 2 Jan 1870; d Paris, 5 July 1941...

(b Grüneberg, June 28, 1865; d Dresden, Feb 1, 1910).

German writer and publisher. From 1892 to 1894 he edited the Freie Bühne (later renamed Neue deutsche Rundschau), the Berlin-based magazine that acted as the chief mouthpiece of literary naturalism. He took up the cause of modernist painting in his very first publication, A. Böcklin (1891), a text introducing 15 heliographs of the artist’s work, and this was followed by publications on Fritz von Uhde (1893; 1908) and on Hans Thoma (1904). In 1894, with Julius Meier-Graefe, Bierbaum founded Pan, which was to become the leading avant-garde journal of the period in Germany, notable for its typography and for the inventive integration of text and illustration. There were also reproductions of paintings, drawings and sculpture, and the list of contributors included Franz von Stuck, Thoma, von Uhde, James Abbott McNeill Whistler, Henri de Toulouse-Lautrec, Max Klinger, Arnold Böcklin, Paul Signac, Georges Seurat, Félix Vallotton, ...

(b Saint-Hippolyte-du-Fort, March 8, 1831; d Alès, April 9, 1885).

French photographer and photographic printer. Bonfils is best known for his photographs of the Mediterranean and Middle East, particularly his five-volume Souvenirs d’Orient: Egypte. Palestine. Syrie. Grèce (1878). Prior to opening a studio briefly in Alès in 1865, he was apprenticed to Abel Niépce de St Victor (180570). Having travelled to Lebanon in 1860 with the French Army to intervene in the conflict between the Druse and the Maronites, Bonfils decided to return to Beirut in 1867 with his wife Marie-Lydie Cabanis and son Adrian to establish a photographic studio under the name La Maison Bonfils. From there Bonfils began his photographic tour of Egypt, Palestine, Syria, and Greece, and sold his views back in his studio. These views included (he claimed) 15,000 albumen prints and 9000 stereoscopic cards. La Maison Bonfils became well known throughout Lebanon, the Middle East, and Europe as a première photographic studio and attracted many tourists seeking photographs of the surrounding area and peoples. Bonfils’s success was compounded when he presented his photographs to the Société Française de Photographie in ...

(b Richmond, VA, Feb 24, 1883; d Glen Head, Long Island, NY, Feb 1, 1951).

American architect, preservationist, author, and editor. His wealthy patrician family provided the opportunity for a fine education and connections to future clients. In 1906 he received a Bachelor of Architecture degree from Columbia University. His education continued in Rome at the American Academy through receipt of the McKim Fellowship in Architecture in 1907. In 1908 he passed the entrance examination for the Ecole des Beaux-Arts and remained in Paris until 1909.

Best known for his residential work, Bottomley combined his extensive knowledge of architectural history with his own observations to produce personal interpretations of past styles. Of his approximately 186 commissions, 90 were located in New York and 51 in Virginia. His most recognized residential commissions are found on Monument Avenue in Richmond, VA. Produced during the 1920s and 1930s, these residences, like many of his other projects, have exteriors inspired by nearby 18th-century James River Georgian mansions. Their interiors deviate from the Georgian models with creatively arranged plans that display a particular delight in the use of curving stairs within a variety of different shaped foyers....

(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 ...

(Scott)

(b 1864; d 1946).

English mezzotint engraver. He lived in Bushey, Herts, and worked for most of the leading London print publishers and dealers. He first exhibited at the Royal Academy, London, in 1889, with A Schoolgirl after Luke Fildes, and continued to show there until his death in 1946, when his only exhibited original work, ...

[Alphonse]

(b St Omer, Pas-de-Calais, April 5, 1828; d Paris, 1875).

French dealer and print publisher. He was the son of an innkeeper and joined the army in 1848. After spending several years in Lyon, he returned to St Omer and in 1859 married the sister of the printmaker and painter François Chifflart. In that year he gave up his modest position with a railway company and set up in Paris in the Rue de Richelieu as a print dealer and print publisher. His first publication appeared in May 1859 and was an album of Chifflart’s works illustrated with photographs, lithographs and etchings. He also launched two illustrated periodicals, Paris mystérieux (1861) and Paris qui s’en va (1859; only one issue published). In 1861 he went into partnership with the photographer Félix Chevalier, and in August of that year they held an exhibition of photographs of the principal pictures of the Salon, as well as an exhibition of paintings that included landscapes by ...

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 ...

[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...

(b Görlitz, Feb 21, 1871; d Berlin, Jan 7, 1926).

German dealer, publisher and journalist. After studying art history at the University of Munich, where he was co-editor of Simplicissimus from 1896 to 1898, he established himself in 1898 as a publisher and dealer in Berlin, helping contemporary artists towards international recognition. In 1908 he founded Verlag Paul Cassirer, a firm that published belles-lettres, especially Expressionist literature, and that promoted such artists as Ernst Barlach. In 1910 he married Ottilie Godefroy, who wrote her memoirs many years later under her stage name of Tilla Durieux.

Cassirer founded the Pan-Presse in 1909, edited the bi-monthly Pan in 1910 and in 1913 founded the journal Die Weissen Blätter, containing comment on literature and art, which he published until 1921. Already President of the Berlin Secession, in 1913 he founded the Freie Sezession, whose exhibitions he planned. In the years preceding World War I Cassirer became a friend of Paul Durand-Ruel and promoted the work of the ...

(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 ...

(John)

(b London, c. 1819; d c. 1883).

English mezzotint engraver. He was a prolific engraver in London and was employed by most of the leading publishers and dealers. He specialized in large-scale portrait, historical and genre prints engraved after a wide variety of contemporary artists and 18th-century portrait painters including Joshua Reynolds. He first exhibited at the Royal Academy in ...

French family of publishers. Gervais Charpentier (d 14 July 1871) introduced to France a new format for books that allowed more words to be printed on the page, thereby making books much less expensive to produce. Although the format was originally called in-18 anglais, it was soon known in France as the format Charpentier. Charpentier’s publishing house produced, among other things, beautiful illustrated books, including Théophile Gautier’s Capitaine Fracasse (1863), with illustrations by Gustave Doré, and an edition of the works of Alfred de Musset illustrated by Alexandre Bida (1813–95). These achievements were continued by Gervais’s son Georges Charpentier (b Paris, 1846; d 1905). As well as publishing important novels by French Realist writers, Georges was responsible for such editions as Quatrelle’s A coups de fusil illustrated by Alphonse de Neuville. Georges Charpentier was awarded the Légion d’Honneur in 1886.