1-20 of 27 results  for:

  • Publisher or Printer x
  • 1600–1700 x
Clear all

Article

Jetty E. van der Sterre

(bapt Mechelen, Jan 14, 1600; d Deurne, Antwerp, Nov 1, 1652).

Flemish painter, draughtsman and printmaker . In 1622–3 he became a master in the Guild of St Luke, Antwerp. In 1625–6 he took on Peter van de Cruys (fl 1625–44) as his pupil, who was followed by Frans Wouters in 1629 and Wouters’s brother, Pieter Wouters (1617–after 1632), in 1631–2. In 1631 van Avont became a citizen of Antwerp.

A recurring motif in van Avont’s work is a group of figures dominated by children and putti; these appear in a variety of forms—the Infant Christ, John the Baptist, angels—in van Avont’s many pictures of the Holy Family. The figure groups in these pieces are often of the same type: angels paying tribute to the Virgin and Child. The grouping is identical in several paintings. Van Avont also used figures of children in his bacchanals and in such allegorical scenes as the Four Elements (Basle, Kstmus.) and ...

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

David Rodgers

(fl 1660–83)

English miniature painter, writer, printmaker and print publisher. In 1665 he taught limning to Elizabeth Pepys, wife of Samuel Pepys, probably on the recommendation of Pepys’s superior, Sir William Penn, whose daughter he had previously taught. Pepys, finding Browne over-familiar, terminated the acquaintance the following year. In 1669 Browne published Ars Pictoria, or an Academy Treating of Drawing, Painting, Limning and Etching, with 31 plates etched by himself after Old Master painters. It was published with Browne’s portrait by Jacob Huysmans, engraved by Arnold de Jode (b 1638; fl 1658–66), as its frontispiece. Six years later Browne added An Appendix to the Art of Painting in Miniture [sic] or Limning, etc and in 1677 published A Commodious Drawing Book with 40 plates after modern masters. In 1683, according to Horace Walpole, Browne obtained a 14-year patent to publish 100 mezzotint prints from works by Anthony van Dyck and ...

Article

Françoise Jestaz

(b Viterbo; fl 1560; d Naples, April 16, 1620).

Italian printmaker and cartographer. He was in Rome by 1560, the date of his first known engraving, the Adoration of the Shepherds (b. 2), after Heinrich Aldegrever. Bartsch recorded 28 prints by him, to which Passavant added a further 27. Mainly engravings, his works include St Jerome (b. 14), after Albrecht Dürer, Christ Descending into Limbo (b. 7), after Andrea Mantegna, the Last Judgement (b. 18), after Michelangelo, and a Landscape (b. 26), after Titian. Until 1577 Cartaro collaborated with the publisher Antoine Lafréry, providing illustrations for the Speculum Romanae magnificentiae, a collection of plans and views issued between 1545 and 1577, and for Le tavole moderne di geografia (c. 1580). After this, he turned increasingly to the more profitable activity of print-selling. He spent his last years in Naples making drawings for printed maps of the kingdom of Naples (e.g. b. 27) with the help of the mathematician ...

Article

Maxime Préaud

(b Orléans, bapt April 18, 1635; d Paris, Sept 15, 1683).

French engraver and print publisher. He travelled to Rome, where he trained as an engraver with Johann Friedrich Greuter (c. 1590/93–1662) and Cornelis Bloemaert the younger. He then worked for a time for the Papacy and stayed in Venice and Genoa before returning to France. He taught engraving in Lyon to Benoît Farjat (1646–c. 1720). Having moved to Paris, he became known for his engravings after works by Poussin, such as the Death of Germanicus (1663; see Weigert, no. 35). He worked for Louis XIV and in 1663 became one of the first engravers to be admitted to the Académie Royale de Peinture et de Sculpture. In 1665 he married the miniaturist Antoinette Hérault (1642–95), thus becoming brother-in-law to the painters Charles-Antoine Hérault (1644–1718) and Noël Coypel. Chasteau went into partnership with the latter in the publication of thesis frontispieces, Coypel supplying the drawings and Chasteau carrying out the engraving and distribution. Without abandoning engraving, he actively engaged himself in the publishing and selling of prints, as is shown by the inventory made after his death; he set up business in the Rue St Jacques, first under the sign of the Guardian Angel and then under that of the Bust of Louis XIV. He exhibited at the Académie Royale in ...

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

Paul H. Rem

[Danckerts]

Dutch family of architects and artists. Cornelis Danckerts (1536–95) was the city mason of Amsterdam. His son, Cornelis Danckerts de Rij (i) (b Amsterdam 1561; d 1634) possibly received from him his early training in the building trade. Judging from the addition of ‘de Rij’ (surveyor or clerk of works) to his name, he must have been a well-respected land surveyor or building inspector, and on his father’s death he succeeded to his post. The Municipal Works Department at that time consisted of Hendrick de Keyser I (City Architect), Hendrick Jacobsz. Staets (c. 1588–1631; City Carpenter) and Cornelis Danckerts de Rij (i) (City Mason and Land Surveyor). Danckerts worked closely with de Keyser and probably executed his designs for the Zuiderkerk (1603), the Exchange (1608–11) and the Westerkerk (1620). The tower of the Westerkerk (h. 85 m), which was completed in ...

Article

(b Paris, c. 1604; d Laluque, Landes, March 29, 1678).

French painter, engraver and print publisher. Although it was as a painter that he was received (reçu) in 1663 by the Académie Royale, it is as an engraver that he is now remembered. His earliest known print is dated 1630, and he later made many plates, particularly reproductive engravings after his contemporaries Jacques Blanchard and Claude Vignon. He was one of Simon Vouet’s best interpreters, and Vouet himself commissioned from him at least 11 plates after his own paintings. Daret’s most important projects were the engraving of plates for and the publication of M. de Gomberville’s La Doctrine des moeurs (Paris, 1646) and the monumental collection of over 100 portraits in the Tableaux historiques où sont gravez les illustres français et estrangiers (Paris, 1652). His translation of Vasari’s life of Raphael, Abrégé de la vie de Raphael Sansio d’Urbin (Paris, 1651), is celebrated as the first monograph on an artist published in France....

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

Maxime Préaud

(b Antwerp, bapt Oct 20, 1640; d Paris, April 2, 1707).

French engraver and print publisher of Flemish origin. He was the son of a tailor in Antwerp and trained as an engraver with Gaspar Huybrechts (1619–84) and Cornelis Galle the younger. On arriving in Paris in 1666, he worked with his compatriot Nicolas Pitau the elder, and then with François de Poilly, Robert Nanteuil and Philippe de Champaigne. In 1672 he married the daughter of Nicolas Regnesson, the Parisian engraver and print publisher, thus himself becoming a print publisher. In 1675 he became a naturalized Frenchman and in 1677 was admitted (reçu) to the Académie Royale. In 1695 he was made a Chevalier of the Order of St Michel and a Papal Knight. He became both a councillor at the Académie and Premier Dessinateur du Cabinet du Roi. Among his pupils were his brother Jean Edelinck (b Antwerp, c. 1643; d Paris, 14 May 1680...

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

[Hendrik]

(b Mülbracht [now Bracht-am-Niederrhein], Jan or Feb 1558; d Haarlem, Jan 1, 1617).

Dutch draughtsman, printmaker, print publisher and painter. He was an important artist of the transitional period between the late 16th century and the early 17th, when the conception of art in the northern Netherlands was gradually changing. Goltzius was initially an exponent of Mannerism, with its strong idealization of subject and form. Together with the other two well-known Dutch Mannerists, Karel van Mander I and Cornelis Cornelisz. van Haarlem, he introduced the complex compositional schemes and exaggeratedly contorted figures of Bartholomäus Spranger to the northern Netherlands. These three artists are also supposed to have established an academy in Haarlem in the mid-1580s, but virtually nothing is known about this project. In 1590 Goltzius travelled to Italy, thereafter abandoning Spranger as a model and developing a late Renaissance style based on a broadly academic and classicizing approach. Later still, his art reflected the growing interest in naturalism that emerged in the northern Netherlands from ...

Article

Maxime Préaud

(b Paris, c. 1650; d Paris, c. 1715).

French engraver, draughtsman and print publisher. The first prints he executed were vignettes for L’Esope du temps by M. L. S. Desmay, published in 1677. His last piece was a portrait of Thomas (Old) Parr, engraved in 1715. Habert was an engraver of average talent who produced almost exclusively portraits, mostly after painters, such as Philippe de Champaigne, Charles Le Brun, Nicolas de Largillierre, Pierre Mignard and Hyacinthe Rigaud; he did, however, occasionally execute portraits from his own drawings from life, such as Elisabeth-Charlotte d’Orléans, Duchesse de Guise (1678; see Weigert, no. 109). In all, he engraved nearly 200 pieces. His wife, Madeleine Masson (c. 1646–1713), was herself an engraver; she was the sister or some other relation of Antoine Masson, whom Habert greatly admired, and who published some of his portraits. Habert also engaged in publishing, but he seems to have published mainly his own works....

Article

Christiaan Schuckman

In 

Article

Maxime Préaud

(b Nancy, c. 1590; bur Paris, April 25, 1661).

French painter, etcher, draughtsman and print-publisher. He was the son of Claude Henriet II (c. 1540–1603/4), court painter to Charles III, Duke of Lorraine. Henriet, like his compatriot and friend Jacques Callot, travelled to Italy, where he studied engraving (1618–21) in Rome, in the studio of Antonio Tempesta. However, he did very little printmaking and only some 20 etchings inspired by Callot are, with reservations, attributed to him; he nevertheless distinguished himself through the quality of his pen-and-ink drawings, and Louis XIII himself is said to have asked him to teach him drawing. However, once Henriet had settled in Paris (1622), his chief activity became the publication of prints.

The success of Henriet’s business ‘in the Rue de l’Arbre Sec, near the Croix du Trahoir, at the abode of Monsieur le Mercier, the Queen’s goldsmith’, was principally due to Jacques Callot, whose sole publisher he was. Henriet also commissioned work from ...

Article

Elisabeth Gurock

(b Strasbourg, 1573; d Brussels, 1645).

Flemish engraver, print publisher, sculptor and painter. His father, Jan van der Heyden (fl 1590; d before 1645), was a painter from Mechelen who left to settle in Strasbourg because of religious turmoil. Jacob trained in Brussels with Raphael Coxie (1540–1616), who was also from Mechelen; it seems probable, however, that Jacob continued to make his home in Strasbourg until 1635, subsequently moving to Brussels, where he worked until his death.

Van der Heyden’s extensive artistic activity extended over several genres. Among his documented paintings and sculptures were a painting of the Adoration of the Magi, listed in a Strasbourg catalogue of 1668, a Portrait of a Man with the Neck-chain of an Order (ex-Hollandt Col., Brunswick), and a gilt-bronze sculpture of Venus (all untraced). His principal work, however, lay in the domain of engraving and publishing. At the time when he founded his own publishing house, Strasbourg was a flourishing centre of graphic production. He published prints by numerous artists, including ...

Article

Christiaan Schuckman

[de Hondt]

Dutch family of printmakers and publishers of Flemish descent. There has been much confusion between this family, which was active in Amsterdam, and the Hondius family family, who were printmakers and publishers in The Hague. The principal member of the Hondius (i) family was (1) Jodocus Hondius I, whose sister Jacomina (1558–1628) was a minor engraver. Jodocus I established a family print publishing business, which after his death was carried on by his two sons, Jodocus Hondius II (b Amsterdam, bapt 9 Nov 1593; d Amsterdam, bur 15 Aug 1629) and (2) Hendrik Hondius ‘II’, who is traditionally given an epithet of generation to distinguish him from the engraver and publisher Hendrik I Hondius (ii) of The Hague. The epithet ‘II’ is both confusing and incorrect, since no direct relationship between the families, although likely, has yet been established. The matter is further complicated by the fact that Hendrik I Hondius (ii) had a son, likewise called Hendrik, who was also a print publisher, though apparently less active than either his father or (2) Hendrik ‘II’ of Amsterdam....

Article

Christiaan Schuckman

In 

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 [...