William Angus (1752 - 1821): Engraver and landscape designer. He was disciple of the engraver William Walker (Thirsk, 1729 – London, 1793). William Angus engraved many illustrations of mansion-houses in England and Wales; he also took part in several topographical publications and engraved some plates for The Dramatic Works of Shakespeare and some portraits for European Magazine. Some of his engravings are after his own designs; others after Stothard’s, Paul Sandby’s, Edward Daynes’ and George Samuel’s. His style is delicate and pleasant. [Benezit I, 201]
Alejandro Blanco y Asensio (fl. 1791 - 1848): Engraver and lithographer. Alejandro Blanco prepared the illustrations for Menéndez y Pelayo’s Poems and for Architectonic travel of Spain. He reproduced designs after Tiziano, Velázquez, Carracci and Rubens [Benezit II, 72]
Plácido Blanco (Mexico, (c.1825-c.1895)): Illustrator and lithographer. Blanco is the author of several illustrations for El Gallo Pitagórico. He established his own lithography printing shop in Mexico in 1848.
Frederic Bouchot (1798 - ?): Designer, wood engraver and lithographer. Bouchot worked for numerous Parisian magazines, did many titles for musical pieces and collaborated on comical albums, as Caricature, Journal pour rire or Charivarí; he engraved Daumier’s designs. [Benezit II, 214]
Frederik Bouttats (? - 1676) [AKA: Frederik Bouttats "the Young"]: Engraver in Amberes, he is one of the most important of 17th century. He engraved portraits of artists and personalities of his own time (Louis XIII, Felipe II King of Spain, Cristina Queen of Sweden, Cromwell, the Duke of Brabant, the architect L. van Heil, the painters J.-B. van Heil and David Ryckaert...), religious subjects and illustrations for several editions (Images of men of spirit, 1649). In 1643, he was part of the Guild of Saint Luke in Amberes. He had twenty-four sons and daughters; some of them were engravers for publishers in Amberes and Colonia [Benezit 1976, II, 249]
J. Cantarell (Barcelona, end of 19th century): Lithographer working in Barcelona around 1898.
Honoré-Victorin Daumier (Marseille, 1808 - Valmondois, 1879): Honoré Daumier was a famous caricaturist and lithographer, who was also active as a painter and sculptor. From 1830 he made his living drawing cartoons for satirical journals, lampooning the government, the professions and the French bourgeoisie. In 1832 he was imprisoned for making a caricature of King Louis-Philippe. Daumier was born in Marseilles, and followed his father to Paris in 1816. In about 1822 he became a pupil of Alexandre Lenoir, and studied the Old Master paintings in the Louvre in the later 1820s. During the course of his career Daumier remained in contact with the main painters of the time, including Delacroix, Millet and Corot. Perhaps due to his reputation as a cartoonist, he did not gain public recognition in his lifetime, though he is now considered a great draughtsman and graphic artist. In 1872 he began to go blind and lived in virtual retirement at Valmondois. While his prints deal with contemporary issues and fashions, Daumier's paintings tend to depict more timeless subjects, often drawn from literary sources. Daumier painted several works based on Cervantes's Don Quixote.
Jules David (Paris, 1808 - Paris, 1892): David was an accomplished watercolorist who made his Salon debut in 1834. He was a principal contributor to the publication Le Moniteur de la Mode. He helped to introduce naturalistic situations to fashion illustration instead of stiffly posed and isolated figures and he drew all the 2.600 fashion plates for this periodical from 1843 to his death in 1892 [Benezit III, 388]
Louis-Pierre-René Demoraine (Paris, 1816 - ?) [AKA: Louis-Pierre-René De Moraine]: Painter and lithographer [Benezit III, 489]
Achille Jacques Jean Devéria (Paris, 1800 – Paris, 1857): Painter, designer, engraver and lithographer. He was a disciple of M. Laffitte and Girodet. In 1848, he was appointed as associate conservator of the “Cabinet des Estampes” and, in 1855, titular conservator. He is the author of a great number of lithographies published between 1828 and 1835; talented lithographer. As an engraver, he copied by etching the designs of his brother and history painter, Eugene Devéria (Paris, 1808 – Pau, 1865). In 1822, he exposed at the Salon. Since 1830, he is a successful book illustrator. His series of portraits of French Romanticism notable men (Victor Hugo, Lamartine, Dumas, Liszt...) is quite remarkable [Benezit III, 547 – 548]
F. K. (19th century): Lithographer working in Barcelona around 1880.
Oscar Fürstenau (19th century): Lithographer working in Leipzig around 1869.
J. García (19th century): Lithographer working in Barcelona around 1880.
Francisco José de Goya y Lucientes (Fuendetodos,1746-Bordeaux, 1828): Francisco José de Goya y Lucientes is regarded as the most important Spanish artist of the late eighteenth and early nineteenth centuries. Over the course of his long career, Goya moved from jolly and lighthearted to deeply pessimistic and searching in his paintings, drawings, etchings, and frescoes. Born in Fuendetodos, he later moved with his parents to Saragossa and, at age fourteen, began studying with the painter José Luzán Martínez (1710–1785). In 1746, the year of Goya's birth, the Spanish crown was under the rule of Ferdinand VI. Subsequently, the Bourbon king Charles III (r. 1759–88) ruled the country as an enlightened monarch sympathetic to change, employing ministers who supported radical economic, industrial, and agricultural reform. Goya came to artistic maturity during this age of enlightenment. For the bold technique of his paintings, the haunting satire of his etchings, and his belief that the artist's vision is more important than tradition, Goya is often called "the first of the moderns." His uncompromising portrayal of his times marks the beginning of 19th-century realism.
Jean-Ignace-Isidore Gérard Grandville (Nancy, 1803 – Vanues, 1847): Designer, water-colorist, caricaturist and lithographer. Grandville received his first instruction in drawing from his father, a miniature painter, and at the age of twenty-one came to Paris, where he soon afterwards published a collection of lithographs entitled Les Tribulations de la petite proprieté. He followed this by Les Plaisirs de toutdge and La Sibylle des salons; but the work which first established his fame was Les Métamorphoses du jour (1828-29), a series of seventy scenes in which individuals with the bodies of men and faces of animals are made to play a human comedy. The success of this work led to his being engaged as artistic contributor to various periodicals, such as Le Silhouette, L'Artiste, La Caricature, Le Charivari. After the reinstitution of prior censorship of caricature in 1835, Grandville turned almost exclusively to book illustration, supplying illustrations for various standard works, such as the songs of Béranger, La Fontaine’s Fables, Don Quixote, Gulliver's Travels, Robinson Crusoe. He also continued to issue various lithographic collections, among which may be mentioned La Vie privée et publique des animaux, Les Cent Proverbes, L'Autre Monde and Les Fleurs animées. Though the designs of Grandville are occasionally unnatural and absurd, they usually display keen analysis of character and marvelous inventive ingenuity, and his humor is always tempered and refined by delicacy of sentiment and a vein of sober thoughtfulness. Grandville, considered precursor of Surrealism, died in a mental hospital [Benezit V, 164]
Joaquín Heredia (Mexico, c.1826-?): Illustrator and lithographer. Heredia began to work for Cumplido printing shop in 1839, when he illustrated La Guirnalda. In 1844 he illustrated Fossey's Viaje a México and in 1846 Prescott's Historia Antigua de México. He is also the author of several caricatures for El Gallo Pitagórico.
Hesiquio Iriarte (Mexico, 19th century) [AKA: Hesiquio Yriarte]: Illustrator and lithographer. Iriarte worked for some of the main Mexican lithography printing shops, such as Ignacio Cumplido's or Manuel Murguía's, but he established his own workshop too, Iriarte & Cia. He is noted for his mid-nineteenth-century lithographs of Mexican types and for his illustrations in Los Mexicanos pintados por sí mismos.
Ange-Louis Janet "Janet-Lange" (Paris, 1815 – Paris, 1872): History and genre painter, portraitist, illustrator and lithographer. In 1833 he entered the Ecole des Beaux-Arts in Paris, where he was a pupil of Horace Vernet, Ingres and Alexandre Marie Colin, but was most influenced by Vernet. He made his début at the Salon of 1836 with two paintings, a Stud Farm and Post Stable, and continued to exhibit there until 1870. His subjects consist mostly of hunting scenes and episodes from contemporary French history. Among the latter are works depicting the Crimean War of 1853–56, Napoleon III’s campaigns in Italy in 1859 and the Mexican expedition of 1861. He also painted religious subjects, for example Agony in the Garden, and worked for L’Illustration, Journal Amusant and Tour de Monde [Benezit VI, 30; www.artnet.com]
Kirchmayr (Italy, 19th century): Lithographer working in Venice around 1848.
Walter Klemm (Karlsbad, 1883 – Weimar, 1957): Painter, printmaker, illustrator and wood engraver. Klemm studied art in Vienna, under Hodler and Amiet. As early as 1903 he began creating both lithographs and woodcuts in Austria's capital city. It was here he met and became lifelong friends with another influential printmaker, Emil Orlik. Several years later Klemm moved to Prague and then to Dachau. In 1913 he settled permanently in Weimar and became a professor at that city's Art Academy (Weimarer Kunsthochschule). Klemm's many great woodcuts and lithographs were published both as individual works of art and as illustrations to fine livres d'artiste. In this latter category he illustrated such great works as Don Quixote, Til Ulenspeigel, Reineke Fuchs (1928), Flaubert's St. Julien and Goethe's Faust. Klemm holds an important place in the history of twentieth century German art. Beginning his artistic career with highly finished, realistic subjects –very influenced by Japanese art–, since 1910 Walther Klemm’s technique gradually broadened out to embrace a unique type of black and white impressionism, which was much more lyrical and flowing than the woodcuts of his expressionist contemporaries. The museums of Leipzig, Berlin, Augsbourg and Prague own examples of Klemm's outstanding woodcuts. [Benezit VI, 241; www.artoftheprint.com]
Alfred-Léon Lemercier (Paris, 19th century): Lithographer. Lemercier, Gigoux and Lasalle’s pupil, exhibited at the salon of 1863. He reproduced Gavarni’s watercolors in collaboration with Bocquin [Benezit VI, 566]
Rudi Lesser (Berlin, 1901-1988): German illustrator, watercolorist, and lithographer.
Ludwig Löffler (Francfort-sur-Oder, 1819 – Berlin, 1876): History painter, lithographer and designer. Löffer was a disciple of the German painter Wilhem Hensel (1794 – 1861) in the Academy of Berlin. In 1841, he exhibited in Leipzig, and also visited Paris and Italy [Benezit VI, 714]
Berthold Mahn (Paris, 1881 – Paris, 1975): Painter, illustrator and lithographer. Charles Désiré Berthold-Mahn, forced to work since he was 6 years old at a factory of stoves and cookers, was born with a natural talent for drawing, what motivated him to study design at the School Germain Pilon, future École des Arts Appliqués. During his military service, he met the cubist painter Albert Gleizes, who also encouraged him to continue his art formation. Thanks to Gleizes, he also met other members of the Abbaye de Créteil, a community or phalanstery of artists founded by the French poets Georges Duhamel and Charles Vidrac. Berthold Mahn would become one of the most prolific French illustrators. Among the works illustrated by him, around 50, are Georges Duhamel’s Lettres d’Auspasie (1922), Deux Hommes (1926), Confession de Minuit (1926) and La Pierre d’Horeb Roman (1928), Elémir Bourges’ Le Crépuscule des Dieux (1927), Claude Aveline’s Le Postulat (1928), Henri Béraud’s La Gerbe d’Or (1930), Jean-Richard Bloch’s Et Compagnie (1930) and Cervantes’ Don Quixote. The illustrations for this edition were prepared after sketches from life made during a travel through Spain [Benezit 1, 622; http://www.duhamel-abbaye-de-creteil.com/]
Théodore Maurisset (working in Paris between 1834 and 1859): Painter, engraver, lithographer and caricaturist [Benezit VII, 277]
Célestin François Nanteuil-Leboeuf (Rome, 1813 – Marlotte, 1873): Genre painter, designer engraver, acquafortist and lithographer. Nanteuil-Leboeuf was a youthful prodigy, developing a personal and recognizable style quite early on; when he was only 17 years old, he illustrated with lithographs Vogel’s L’Ange déchu, already showing his famous “tachiste” style. Originally a student of Ingres in the Ecole des Beaux-Arts and of Langlois, he was clearly a Romantic. His illustrations for Renduel’s edition of Victor Hugo’s Notre Dame de Paris (1836) are very remarkable; Nanteuil was a close friend of this writer. His style was very appropriate for illustrating the imaginative creations of Romantic poets and writers. In 1867, he became Director of the Academy of Fine Arts and, in 1869, he was awarded with the Légion d’honneur. He, perhaps, is best known today for his numerous and very effective lithographs [Benezit VII, 650-651]
Eusebio Planas (Barcelona, 1833 – Barcelona, 1897): Lithographer, designer and watercolorist. He was disciple of Ribo [Benezit VII, 373]
Henri Pottin (Paris, 1820 - Paris, 1864) [AKA: Louis Aimé Henri Pottin]: History and genre painter, portraitist, engraver and lithographer. He was a disciple of Tony Johannot and Picot. Between 1845 and 1864 he exposed in the Salon [Benezit VIII, 452]
Ricard (19th century): Illustrator and lithographer working in Paris around 1866.
José Rivelles (Valencia, 1778 – Madrid, 1835) [AKA: José Ribelles y Helip]: History and portrait painter, lithographer and designer. Rivelles painted some frescos in the Royal Palace of Madrid [Benezit VIII, 723]
Bernardo Rodríguez (end of 19th century - beginning of 20th century): Lithographer working in Madrid around 1900.
Stein (Germany, mid. 19th century): Illustrator and lithographer (?) working in Thorn (Germany) around mid. 19th century.
T. E. (19th century): Lithographer working in Barcelona around 1880.
Armand-Louis-Henri Telory (Henry Emy) (Paris, fl. 1840 – 1852): designer and lithographer. Telory, also known as Henry Emy, collaborated in many publications: Contes de Boccace, La grande ville, nouveau tableau de Paris, Les François peints par eux-mêmes, Paris l’Eté, Folies théâtrales, Choses du Jour and others [Benezit X, 106]
Vicente Urrabieta Ortiz (1823 – Paris, 1879): Designer and lithographer. Father of Daniel and Samuel Vierge, both painters and designers too. He collaborated with several Spanish illustrated publications. [Benezit X, 348]
Domingo Valdivieso Henarejos (Mazarrón, 1830 - Madrid, 1872): Spanish painter and lithographer. He was first a pupil of Juan Albacete, and then studied successively in the Schools of Art at Madrid, in Paris, and in Rome. After his return he became anatomical teacher to the Royal Academy of San Fernando. He painted portraits, genre subjects, and historical pictures ; among the latter are: an Entombment of Christ, The First Communion, and Philip II on the occasion of an Auto de Fe.
Ulrich Thieme and Felix Becker, Allgemeines lexikon der bildenden kunstler von der antike bis zur gegenwart; unter mitwirkung von 300 fachgelehrten des in- und auslandes hrsg, Leipzig, W. Engelmann, 1907-50, 37 vols.
Emmanuel Benezit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de tous les pays, par un groupe d'ecrivains specialistes francais et etrangers, Paris, Librairie Grund, 1976, 10 vols.