English family of engravers, illustrators and publishers. Isaac Taylor (i) (b Worcester, 13 Dec 1730; d Edmonton, 17 Oct 1807) worked initially for the London map publisher Thomas Jeffreys (fl 1732; d 1771). He engraved some plates of Old Master pictures for John Boydell and exhibited at the Society of Artists in 1765–80. He was a capable artist, much in demand for book illustrations, which he both designed and engraved, for example a vignette (1765) retained for many editions of Oliver Goldsmith’s Deserted Village and frontispieces (1780) for each of the seven volumes of Samuel Richardson’s Sir Charles Grandison. He also engraved architectural plates and in the 1770s he took over the business of Henry Webley of Holborn, the leading publisher of architectural books. From about 1775 he traded as I. & J. Taylor, at first with his brother James Taylor (...
(b Varia, Lesbos, 2 May 1897; d Paris, 23 Oct 1983). Greek art critic and publisher, active in France. He went to Paris to study law but in 1925 became editor of the modern section of Cahiers d’art, an art periodical recently founded by his compatriot Christian Zervos. From 1928 to 1932, with his friend the critic Maurice Raynal (together they called themselves Les Deux Aveugles), Tériade also assumed responsibility for the arts page of L’Intransigeant. When all these contracts expired he joined Albert Skira, helping him publish Matisse’s first artist’s book, Poésies by Stéphane Mallarmé (Lausanne, 1932), and in 1933 he became Artistic Director of Skira’s luxurious, largely Surrealist periodical, Minotaure, for the first nine of its thirteen issues. Tériade’s own interest in art extended well beyond Surrealism, to encompass what he considered the universal language of art and especially its material substance. He edited and co-authored the first two texts for Skira’s first series of colourplate books, ...
(b Płock, Jan 25, 1910; d London, Sept 6, 1988).
British film maker, poet, writer and publisher of Polish birth. He studied physics at the University of Warsaw and architecture at the Warsaw Polytechnic. In 1931 he married the painter Franciszka Weinles (1907–88), his lifelong collaborator on films, children’s books and publishing. In the 1930s they made four experimental films in which forms of lyrical montage replaced narrative structures; these included Europa (1932), inspired by a futurist poem by Anatol Stern (1899–1968). Their innovative technique made use of photograms and collages and was directly influenced by Dadaist typography. Adventures of a Good Citizen (1937) was the fifth and last of their pre-war films and the only one that has survived. In 1935 they founded S.A.F., a co-operative for film makers, and the journal The Artistic Film. They travelled to Paris and London (1936), where they met László Moholy-Nagy. They moved to England in ...
English firm of art dealers and print publishers. Thomas Agnew (b Liverpool, 16 Dec 1794; d Fair Hope, Eccles, Greater Manchester, 24 March 1871) became a partner in the Manchester firm of Vittore Zanetti, framemaker, dealer in works of art and scientific instruments, and print publisher, in 1817. He took sole control of the business in 1835, opening a branch in London in 1860. His greatest achievement was to develop the market for contemporary English pictures among the newly wealthy class of northern businessman. He specialized in genre and modern-life subjects by such artists as William Mulready, William Collins, William Powell Frith, Edwin Landseer and John Phillip, which he sold for high prices. He was motivated by the utilitarian principles of Swedenborgianism, which encouraged him to help found the Salford Museum in 1850 and bequeath pictures to it. He retired in 1861 in favour of his sons, Sir ...
(b Bourges, 1480; d Paris, 1533).
French printer, publisher, book designer and bookseller. He left Bourges in 1503 to study in Rome and Bologna. After returning to France in 1507, he published Classical works and taught at the Collège du Plessis in Paris (1508–11) and then, from 1512, at the Collège de Bourgogne (Paris), before a second stay in Italy from about 1516 to 1518. In 1518 he was admitted to the Paris booksellers’ guild. He worked under the sign of the Pot-Cassé, first on the Petit-Pont adjoining the Hôtel-Dieu (1512–23) and then on the Rue St Jacques; finally he settled on the Rue de la Juiverie from 1532 to 1533.
From 1529 Tory was active as a printer. Influenced by Classical art and by Italy, he adopted a new approach to the aesthetics of book production in France, concerning himself with a correct balance between text and illustration. From his first book, ...
(b Amsterdam, 1651–2; d Amsterdam, Oct 21, 1726).
Dutch mezzotint engraver and publisher. He was the son of Leendert Gerritsz. Valck, a silversmith from Amsterdam, and the pupil, brother-in-law and business partner of Abraham Blooteling, with whom he went to London in 1672. Valck’s earliest dated mezzotint, Sleeping Cupid (1677; Hollstein, no. 40), is after a painting by Guido Reni. Valck’s 67 engravings and mezzotints were mostly based on designs by other artists, for example Peter Lely, Gérard de Lairesse (Hollstein, nos 1–2 and 22–3) and Philipp Tidemann (e.g. illustrations for an unpublished Danish translation of Ovid’s Metamorphoses; Hollstein, nos 32–8); they were often published by Valck himself. In Amsterdam he worked in partnership with his brother-in-law Pieter Schenck and later with his son Leonardus Valck. Gerard Valck’s publications include atlases, separate maps and printed globes, as well as series of prints with views of houses belonging to the Orange-Nassau family, trades and professions, fountains, chimneys and birds....
Aída Sierra Torres
(b Veracruz, 1848; d Tacubaya, Mexico City, Feb 14, 1904).
Mexican illustrator and lithographer. He began his career in 1869, making prints for the weekly La ilustración potosina in San Luis Potosí. He collaborated with Alejandro Casarín and Jesús Alamilla on illustrations using engravings coloured with pen for the novel Ensalada de pollos by José Tomás de Cuéllar. In these the use of a schematic design accentuated the appearance of the figures portrayed. He created caricatures (1872–3) for La orquesta and other periodicals, but he established his reputation with caricatures (1874–6) of government figures for the weekly Hijo Ahuizote. Villasana was a member of the political party of President Porfirio Díaz and in 1880 published ferocious caricatures of Díaz’s opponents in El coyote emplumado. He was co-publisher in 1883, with Ireneo Paz, of La patria ilustrada and in 1888 he founded his own weekly, México y sus costumbres; in both periodicals he published his own caricatures of public figures. In ...
(b Amsterdam, 1587; d Amsterdam, June 19, 1652).
Dutch draughtsman, printmaker and publisher. His father was a ship’s carpenter. Visscher’s master is unknown, although Constantijn Huygens the elder suggested that Jacques de Gheyn the younger taught him to etch. Visscher is recorded as an engraver in Amsterdam in 1608, and his early engravings, from 1605 onwards, consist entirely of reproductive prints after the designs of Flemish artists, in particular David Vinckboons, who settled in Amsterdam in 1602. In the second decade of the 17th century Visscher etched and published landscapes of a strong local character, of both real and imaginary views, to the designs of young Dutch draughtsmen such as Jan and Esaias van de Velde (i) and Willem Buytewech. These proved extremely popular and formed the basis of Visscher’s early success as a publisher. He became the most important Amsterdam print publisher, specializing in portraits, landscapes and maps, the elaborate borders of which were often to his own designs. He himself etched more than 200 plates....
[ Francis ]
(b St Jean-du-Bruel, Aveyron, July 11, 1708; d London, Nov 26, 1780).
French engraver and print publisher, active in England. He is considered to be one of the founders of the English school of landscape engraving. A Huguenot, he came to London in 1711 and learnt engraving with Joseph Wagner (1706–80). His earliest dated print is from 1739. He helped introduce the Rococo style into England as an engraver or publisher of ornament books c. 1740–60, for example his engraved plates for William De la Cour’s First Book of Ornament (1741). Many of his landscape prints were after paintings by French and Dutch Old Masters, beginning with 11 plates for Arthur Pond’s Italian Landscapes project (1741–6; London, BM), a 44-plate survey of the works of Gaspard Dughet and Claude Lorrain in British collections. Typical of his mature work is the print after Claude, Great Annual Sacrifice at the Temple of Apollo on the Island of Delos (...
(b St-Denis, Réunion, c. 1867; d Paris, Feb 19, 1939)
French art dealer and publisher. He was the most notable contemporary art dealer of his generation in France, as well as an innovative publisher of prints and illustrated books. Brought up in Réunion, he arrived in Paris c. 1890 as a law student and soon started buying and selling prints and drawings for his own pleasure. After a period working at L’Union Artistique for Alphonse Dumas, an established dealer, he set up on his own and in 1894 opened a small gallery near the Opéra on the Rue Laffitte, then the centre of the Paris art trade.
Vollard made his first major impact as a dealer in 1895 when he organized Cézanne’s first one-man exhibition. Over the next ten years he built up, at relatively low cost, a large stock of paintings by Cézanne, which eventually provided him with enormous profits. Concurrently he acquired work by van Gogh, Gauguin, Bonnard, ...
(b ?Thaldorf, Württemburg, 1706; d Venice, 1780).
German engraver and print publisher, active in Italy. The pupil of Jacopo Amigoni, he was one of the leading mid-18th-century reproductive engravers active in Venice. As well as publishing engravings after such leading painters as Canaletto, he also worked on a two-volume set of engravings, Delle antiche statue greche e romane...
(b Minneapolis, MN, July 9, 1908; d Boston, MA, June 24, 1976).
American photographer and writer. He took his first photographs as a child with a Kodak Box Brownie camera and later learnt darkroom procedures as a student at the University of Minnesota. After graduating in 1933 with a degree in botany and English, he wrote poetry for five years while supporting himself with odd jobs. He moved to Portland, OR, in 1938 and became increasingly interested in photography. During 1938–9 he worked for the Works Progress Administration Federal Arts Project as a creative photographer documenting the early architecture and waterfront of Portland. In 1941 the Museum of Modern Art in New York exhibited several of his images. His first one-man show, photographs of the Grande Ronde-Wallowa Mountain area of north-eastern Oregon, opened at the Portland Art Museum in 1942.
White served in the Army Intelligence Corps from 1942 to 1945, during which time he wrote about photography but took few photographs. He visited Alfred Stieglitz in New York at his gallery, An American Place, in ...
English family of printers and publishers . Charles Whittingham (i) (b nr Coventry, 16 June 1767; d 5 Jan 1840) was apprenticed to a bookseller and printer, Richard Bird, from 1779 to 1786. In the late 1780s Whittingham set up as a printer in Fetter Lane, London. The earliest piece of printing associated with him is Edward Young’s Night Thoughts (1792). His association from 1803 with the bookseller John Sharpe resulted in several series, including the British Classics (1803), Sharpe’s British Theatre (1804) and British Poets (1805); Whittingham issued his own British Poets series in 100 volumes in 1822. From 1803 he used some of the earliest Stanhope presses and traded as the Stanhope Press until 1811, when, having moved part of his business to Chiswick, he adopted the Chiswick Press imprint. By then he was also working for almanac and book publishers and publishing books himself. In ...
The Federal Art Project (FAP) was the visual arts branch of the Works Progress Administration (WPA), a government agency created in 1935 to find employment for people on public projects in response to the Great Depression. In December 1933 the ambitious Public Works of Art Project (PWAP) was set up to create regional offices to employ artists, with Edward Bruce of the Treasury Department as national director. The successful program employed some 3749 artists across the country, but it was phased out by the summer of 1934. (Bruce later headed other programs under the Treasury Department that employed artists.)
With the relief needs of artists, writers, musicians and theater people unresolved and with the experimental climate of the New Deal still energizing legislation, Harry Hopkins of the WPA set up Federal Project No. 1 in August 1935, which had the most far-reaching cultural impact on the country. There were four cultural projects: Art, Music, Theatre and Writers. For the art project, ...
Guides to every state in the Union (and some of the major cities) that were written under the auspices of the Federal Writers Project created by the Works Progress Administration/Federal Art Project during the presidency of Franklin D. Roosevelt. The idea was part of Roosevelt’s attempt to find work for the thousands of Americans who had been left jobless by the Great Depression of the 1930s. Published between 1937 and 1942, each one began with short chapters on subjects such as political history, the arts, architecture, labor movements, economics and education. These were followed by sections on major cities and their resources. About half of each guide was devoted to a series of tours that might be taken along country roads as well as major highways. They included details of small towns that are still valuable to scholars.
The Federal Writers Project hired some important authors, but few of them wrote for the guides. They were composed by people of lesser note such as unknown college professors, amateur naturalists and architecture buffs. The great majority of the researchers were people who had no training in gathering facts but who nevertheless pursued them with care. One also suspects that the high quality of the finished products was the result of the work of capable editors....
German family of printers. Günther Zainer (b Reutlingen; d Buxheim, 13 April 1478) seems to have been trained in the workshop of Johann Mentelin (c. 1410–78) in Strasbourg, and in 1468 he established the first printing workshop in Augsburg. His publications include the first illustrated Bible (1475), the first printed edition of the De imitatione Christi of Thomas à Kempis and an edition of the 13th-century Golden Legend (Lombardica historia) of the Genoese hagiographer Jacopo da Voragine in which the lives of the saints are illustrated with 231 woodcuts. Johann Zainer (b Reutlingen; d Ulm, c. 1523), who was probably Günther’s brother, moved to Ulm in the early 1470s, where he established a printing workshop that specialized in illustrated books. In 1476 he published the first edition of Aesop’s Fables in German.A. Fujii: Günther Zainers druckersprachliche Leistung: Untersuchungen zur Augsburger Druckersprache im 15. Jahrhundert, ...
French collectors, writers and patrons. Christian Zervos (b Cephalonia, Greece, 1 Jan 1889; d Paris, 12 Sept 1970) was of Greek origin and worked briefly for the magazine L’Art d’aujourd’hui, before founding Cahiers d’art in 1926. Covering contemporary painting and sculpture, music, architecture, film and photography, this magazine was internationally acclaimed not only for its promotion of major modernist artists but also for its immaculate presentation and typography. Its authors included critics, historians and aestheticians (Zervos himself, Tériade, Maurice Raynal, Georges Duthuit, P. G. Bruguière, Dupin), lending each issue a balance of historical analysis and poetic sensibility. Zervos’s concern with the relationship of image to text also extended to confrontations between contemporary art and non-European or primitive sources, such as Cycladic, African, or Oceanic art.
In addition to his editorial work, Zervos published his own monograph on Henri Rousseau (1927) and then books by other authors on Frank Lloyd Wright (...
Nigel Vaux Halliday
[ Antonie ]
(b Haarlem, Feb 18, 1892; d Crowborough, E. Sussex, Jan 23, 1979).
Dutch bookseller, dealer and publisher, active in England . He worked in the book trade in Holland and then in London, where in 1916 he became manager of a foreign-language bookshop at 78 Charing Cross Road. After buying the business in 1923 he developed it into a specialist art bookshop, unique in London until the late 1930s. Zwemmer concentrated on European publications and was the sole British distributor of such magazines as Cahiers d’art, XXe siècle, Minotaure, Labyrinthe, Verve and, later, L’Oeil. He also stocked modern English literature. The bookshop, which was soon financially successful, was a focus for the London art world in the 1920s and 1930s, and Zwemmer became a friend and patron of such artists as Henry Moore, Wyndham Lewis, Jacob Epstein and Graham Sutherland. Through his regular visits to Paris he also came into contact with Picasso, Miró, Dalí and Paul Eluard. In 1929 Zwemmer opened the Zwemmer Gallery at 26 Litchfield Street, round the corner from his bookshop; it operated until ...