(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, ...
(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 Paris, June 6, 1719; d Paris, May 31, 1794).
French patron, collector, amateur engraver and soldier . He was the only son of the collector Augustin Blondel de Gagny and joined the army at 15, being awarded the Croix de St Louis in 1745. He retired from the army in 1753, having married a great heiress, Catherine Edmée de la Haye des Fosses; they divided their time between hôtels particuliers in the Rue de Vendôme and the Rue Nazareth, Paris, and an elegant château at Bonneuil. Azincourt was an honorary member of the Académie Royale in Paris and the academy of Marseille. In 1776 he helped to arrange the acquisition by the Maison du Roi of the Cabinet de l’Amour from the Hôtel Lambert, Paris. In La Première Idée de la curiosité (1749), he described the principles of collecting and offered advice on display. His eclectic collection ranged from Italian, Northern European and French works to curiosities of natural history. After ...
(b Paris, Dec 11, 1715; d Paris, 1797).
French soldier, amateur printmaker and collector. He was sometimes called ‘Comte’, probably an assumed title. He was raised by his grandfather Jean Baudouin des Pacauds (d 1722), a tobacco merchant and collector of maps and mathematical instruments, whose wealth he inherited. In 1736 Baudouin joined a regiment of the Gardes Françaises as a gentilhomme à drapeau. He was an amateur printmaker of limited technical skill; in 1757 he published L’Exercice de l’infanterie française, a book of 62 prints. He presented it to Louis XV and was rewarded with 20,000 francs. The book was republished in 1759, with the plates re-engraved by Augustin de Saint-Aubin. Baudouin was a considerable collector, particularly of Dutch and Flemish paintings, which served as models for many of his prints. In 1779 he sold 115 paintings from his collection to Catherine the Great, having had copies made of 92 of them. Many of the works he sold, including ...
L. Fornari Schianchi
(b Arcisate di Como, 1727; d Parma, Nov 4, 1792).
Italian stuccoist, printmaker, painter and collector. Before studying anything else he learned stucco decoration from his father Pietro Luigi (d 1754), who worked in Germany from 1743 until his death. Stucco work always remained Bossi’s main activity, alongside that of printmaking, especially etching. His experiments in the latter field followed in the tradition of the great Venetian printmakers. He was encouraged by Charles-François Hutin, who was in Dresden from 1753 to 1757 and whom he followed to Milan and Parma. His first etching, based on a work by Bartolomeo Nazari (1693–1758), was done in Milan in 1758. From 1759 on he was in Parma, where he produced some plates for the Iconologie tirée de divers auteurs (1759) by Jean-Baptiste Boudard, and where he executed the stucco trophy decoration for the attic of S Pietro, the construction of which began in 1761. From this date Bossi also collaborated with the designer ...
Gabriel P. Weisberg
(b Paris, Feb 11, 1830; d Parays, Tarn-et-Garonne, June 3, 1890).
French critic, collector and etcher. He studied drawing and painting before becoming art critic of the Gazette des Beaux-Arts in 1859. His extensive articles examined such issues as the etching revival (see Etching, §II, 4), modernization of the industrial arts, the cult of Japonisme and Impressionism. With his notices in the newspaper Le Rappel (1869–71) and the avant-garde journal La Renaissance littéraire et artistique (1871–2), the periodical of the emerging Symbolist poets, Burty passionately espoused the taste for Japanese art and culture and coined the term Japonisme in 1872. His apartment, which contained a vast collection of Japanese works of art, attracted many collectors also fascinated by Japan, including Edmond de Goncourt, Félix Bracquemond and Edgar Degas. Burty’s meetings and his collection and staunch advocacy of Japonisme influenced many, including his Impressionist friends, in whose compositions the subtle assimilation of Japanese print design is evident. The marriage of Burty’s daughter Madeleine to the entrepreneur ...
(bapt Amsterdam, Jan 25, 1626; bur Amsterdam, Dec 22, 1679).
Dutch businessman, collector, painter, draughtsman and etcher. Though now considered the outstanding marine painter of 17th-century Holland, he was not a professional artist nor a member of the Amsterdam Guild of St Luke. His father owned a successful dye-works in Amsterdam, in which both Jan and his brother Louis were active. Their father enjoyed a long life and probably managed the firm until close to his death in 1674, when Jan inherited it. This left Jan with plenty of spare time to pursue his hobby, painting. He married Annetje Jansdr. (Anna Grotingh) before 1653. He died a widower, survived by his seven children, who inherited his considerable fortune. His last will shows that in addition to the dye-works and immense cash assets, van de Cappelle owned extensive properties and an art collection that must be rated among the most important of his time.
Apart from his involvement with the arts, Jan shared his countrymen’s love of ships and sailing. He owned a pleasure yacht, moored in the ‘oude yacht haven’, which must have taken him on many trips along the Dutch coast and rivers, giving him an opportunity to sketch and draw from nature....
[Tubières de Grimoard de Pestels de Lévis, Anne-Claude-Philippe de]
(b Paris, Oct 31, 1692; d Paris, Sept 5, 1765).
French amateur engraver, antiquarian, patron and writer. Born into an old aristocratic family, he enjoyed all of the privileges of his class, including a large private income, free time, access to artists and collectors, and mobility. He entered the army and distinguished himself in battle at an early age. In 1714 he spent a year in Italy, where he developed a lifelong passion for the arts, especially for antiquities. After the death of Louis XIV in 1715, Caylus resigned his military post and shortly thereafter undertook a hazardous journey to Turkey. In pursuit of ancient sites rarely seen by European eyes at this time, he negotiated with the local bandit chieftain for safe passage to the ruins of Ephesos and Colophon.
In 1719 Caylus settled in Paris, where he remained with the exception of a brief trip to Holland and England in 1722. He began frequenting the weekly gatherings held by Pierre Crozat, a wealthy financier and collector. Crozat’s circle included many important artists as well as connoisseurs and aestheticians who met to study his extensive collection of Old Master paintings and drawings and to debate theories of art. In this lively company, Caylus developed his eye and learnt etching and engraving from the artist ...
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 ...
(b Paris, July 19, 1834; d Paris, Sept 27, 1917).
French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group’s exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.
The eldest son of a Parisian banking family, he originally intended to study law, registering briefly at the Sorbonne’s Faculté de Droit in 1853. He began copying the 15th- and 16th-century Italian works in the Musée du Louvre and in 1854 he entered the studio of Louis Lamothe (1822–69). The training that Lamothe, who had been a pupil of Ingres, transmitted to Degas was very much in the classical tradition; reinforced by the Ecole des Beaux-Arts, which he attended in ...
(b Paris, May 7, 1869; d Paris, Nov 9, 1927).
French collector, writer and etcher. He began to collect prints at the age of 13 and rapidly established a reputation as a connoisseur and expert, particularly in the field of modern prints. His principal work is the 31-volume series Le Peintre-graveur illustré (Paris, 1906–30); his other publications include works on 19th- and 20th-century prints and c. 500 auction-room catalogues. His own etchings were exhibited at the Salons of 1888 and 1897, and he was an officer of the Société des Peintres-graveurs Français and the Société pour l’Etude de la Gravure Française. His first print collection was sold at auction in 1890, the second in Paris, 13–15 June 1928, comprising 404 lots of modern prints.with N. A. Hazard: Catalogue raisonné de l’oeuvre lithographié de H. Daumier (Paris, 1904) Le Peintre-graveur illustré, 31 vols (Paris, 1906–30) Manuel de l’amateur d’estampes du XVIII siècle (Paris, 1910) Manuel de l’amateur d’estampes des XIX et XX siècles...
(b Cérilly, nr Moulins, Aug 26, 1823; d Nice, Feb 18, 1902).
French painter, printmaker, collector and writer. Born into a wealthy, aristocratic family, he showed an early talent for drawing but initially trained and registered as a lawyer, though he never practised. In 1845 he entered the Ecole des Beaux-Arts in Paris, studying first under the sculptor Louis-Jules Etex (1810–89) and from 1847–8 under Thomas Couture. From 1849 to 1854 he travelled—to England, Belgium, the Netherlands and finally to Italy, where in 1854 he bought the historic Villa dell’Ombrellino in Bellosguardo outside Florence. He lived there until his return to Paris in 1872, building up an art collection and making engravings. The content of his purportedly large collection has not been established, though he is known to have had a particular love for early Italian Renaissance works and also paintings from the Spanish school. While in Italy he wrote several plays, of which one, Maurice de Saxe, was performed at the Comédie Française, Paris, in ...
French family of writers, one of them also an engraver and collector.
(b Paris, July 2, 1680; d Paris, Nov 29, 1765).
Writer, collector and engraver. He was the son of Antoine Dezallier, a bookseller in Paris who had acquired the estate of d’Argenville; his maternal uncle was Pierre Mariette le fils. He was educated at the Collège du Plessis and studied drawing and engraving with Bernard Picart, Roger de Piles and Jean Leblond (ii). His first researches were into natural history, with particular reference to gardening, and his earliest publication was La Théorie et la pratique du jardinage (1709). This was the most important codification of the formal French garden, and its successive editions traced the development of the art of gardening through the first half of the 18th century. He also published papers on shells and fossils that reveal a collector’s instinct for classification and identification. These interests brought him the membership of a number of learned societies, and he was asked by D’Alembert and Diderot to write articles about hydraulics and the art of gardening for their ...
(b Le Havre, July 31, 1901; d Paris, May 12, 1985).
French painter, sculptor, printmaker, collector and writer (see fig.). He was temperamentally opposed to authority and any suggestion of discipline and devised for himself a coherent, if rebellious, attitude towards the arts and culture. For all his maverick challenges to the values of the art world, Dubuffet’s career exemplified the way in which an avant-garde rebel could encounter notoriety, then fame and eventual reverence. His revolt against beauty and conformity has come to be seen as a symptomatic and appreciable influence in 20th-century culture.
The son of a prosperous and authoritarian wine-merchant in Le Havre, Dubuffet left home for Paris at 17 to pursue irregular studies in the arts. But, growing sceptical of the artist’s privileged status and savouring an affinity with ‘the common man’, he abandoned painting in ...
(b Montpellier, April 1, 1766; d Montpellier, March 16, 1837).
French painter, printmaker and collector. He was taught by the painter Jean Coustou (1719–91) in Montpellier before entering, in 1783, the studio of David, to whose artistic principles he remained faithful all his life. His career as a history painter began brilliantly when, in 1787, he won the Prix de Rome for Nebuchadnezzar Ordering the Execution of Zedekiah’s Children (Paris, Ecole N. Sup. B.-A.). This early success was consolidated by the four years he spent at the Académie de France in Rome and by the enthusiastic reception of his Death of Abel (1790; Montpellier, Mus. Fabre) at the Salon of 1791.
In 1793 his royalist sympathies forced him to move to Florence, where the poet Vittorio Alfieri and his mistress the Countess of Albany, estranged wife of the Young Pretender, introduced him to the artistic and social life of the city. In the years preceding the French invasion of Tuscany in ...
(b Chropyně, Moravia [now Czech Republic], April 4, 1882; d Prague, Oct 6, 1953).
Czech painter, printmaker, sculptor, writer and collector. After a short period at a business school and in an insurance office in Brno, he became a student at the Academy of Fine Arts in Prague (1903). In 1904 he won the Academy’s first prize. At the end of the year he set out on a lengthy journey to Germany, the Netherlands, Belgium, France and Italy. He became absorbed in the Old Masters, especially Rembrandt. His own style passed from Post-Impressionism to a more expressive dominance of colour. In 1907 he took part in the first exhibition of The Eight (see Eight, the) with a programme painting, the Reader of Dostoyevsky (Prague, N.G., Trade Fair Pal.), partly influenced by the Munch exhibition in Prague in 1905. At the same time the picture is a very personal manifesto reflecting the Angst and scepticism of his generation. At the second exhibition of The Eight in ...
(b Lille, July 30, 1828; d Auvers-sur-Oise, Val d’Oise, Jan 9, 1909).
French doctor, collector, painter and engraver. In 1848 he began to study medicine in Paris, where he frequented the Bohemian circles of Amand(-Désiré) Gautier, Gustave Courbet and Champfleury. In 1857 he visited Montpellier, where he met the great collector Alfred Bruyas; it was probably through him that he came to know Paul Guigou, Adolphe Monticelli and Auguste Cézanne, Paul Cézanne’s father. In 1858 Gachet was awarded a doctorate by the University of Montpellier for his thesis Etudes sur la mélancolie. On his return to Paris he established a medical practice; among his patients were the engraver Charles Meryon and Rachel Pissarro, mother of Camille Pissarro. The turning-point in his life came when in 1872 he bought a property at Auvers-sur-Oise; his house there became a haven for the Impressionist painters.
In the same year Gachet began to collect seriously, buying 18 small paintings by Guigou at the latter’s studio sale. He acquired many works from his painter friends and lent ...
(b Besançon, Jan 6, 1806; d Paris, Dec 11, 1894).
French painter, lithographer, illustrator and collector. The son of a blacksmith, he attended the school of drawing in Besançon. He left for Paris and in 1828–9 frequented the Ecole des Beaux-Arts while executing various minor works. He made his début at the Salon in 1831 with a number of drawings. He established himself at the Salons of 1833 and 1834 with such sentimental compositions as Henry IV Writing Verses to Gabrielle, St Lambert at Versailles, Count de Comminges, Fortune-telling and such portraits as Laviron and The Blacksmith (1886; unless otherwise stated, all works are in Besançon, Mus. B.-A. & Archéol.; many drawings in Lille, Mus. B.-A. and Rouen, Mus. B.-A.). His portrait of the Phalansterist Fourier (1836) confirmed the success he had achieved as a history painter with the Last Moments of Leonardo da Vinci (1835).
In 1836 Gigoux travelled to Italy with his students ...