1-8 of 8 results  for:

  • Eighteenth-Century Art x
  • Prints and Printmaking x
  • Patron, Collector, or Dealer x
  • Publisher or Printer x
Clear all

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

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

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

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

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

Véronique Meyer

French family of artists. Louis Surugue [de Surgis] (b Paris, c. 1686; d Grand-Vaux, nr Savigny-sur-Orge, 6 Oct 1762) was a draughtsman, etcher and engraver, print-publisher and print-seller. He trained with Bernard Picart, whom he followed to the Netherlands in 1710. He returned to France in 1715, to combine his work as a printmaker with publishing and selling prints. In 1730 he was approved (agréé) by the Académie Royale, and on 30 July 1735 was received (reçu) on presenting as morceaux de réception engraved portraits of the painters Joseph Christophe after François-Hubert Drouais, and Louis de Boullogne the younger after Antoine Mathieu. In the same year he purchased the post of Contrôleur Général des Rentes at the Hôtel de Ville, Paris. He contributed to most of the engraved collections which appeared during his lifetime: the Recueil Crozat (2 vols, Paris, 1729–42); the Galerie Royale de Dresde...