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Bnf estampes hokusai biography

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Eldest son of George N. Curtis and Eliza Meecham, Atherton Curtis was born in Brooklyn, New York to a wealthy family on August 3, 1863 (according to his 1915 marriage certificate (AP, 6M231, 07/01/1915), other sources state April 3). They amassed their wealth during the second half of the 19th century, producing Mrs Winslow's soothing syrup for children. It was banned from the market around 1930 because it contained morphine. Like his younger brother, George Warrington Curtis (1869-1927), who would devote himself to sculpture, Atherton showed a keen interest in art. He would devote his life to art and philanthropy which is possible to follow thanks to the diaries, kept in the Département des Estampes et de la Photographie (BNF EST , Res. YG-187-8). A vegetarian and very adverse to the suffering of animals, he was a patron of the Humanitarian League of Henry Stevens Salt (1851-1939) and financed the publication, between 1900 and 1910, of the Humane Review, a quarterly of the League (The Routledge history of food, 2014, p. 196).

He lived in Paris around 1890 and frequented artist

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Ackland Art Museum
(see from University of North Carolina at Chapel Hill. Ackland Art Museum)
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American University (Washington, D.C.). Library
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Art Institute of Chicago日本語ページ
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Asian and African Studies, The British Library日本語ページ
(see from British Library. Asian and African Studies)
(see from Great Britain. British Library. Asian and African Studies)
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Asian Languages Collection, University of Auckland Library and Learning Services日本語ページ
(see from Auckland, N.Z. University. Library)
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Special Collections, Monash University Library日本語ページ
(see from Asian Studies Research Collection, Sir Louis Matheson Library, Monash University)
(see from Monash University. Asian Studies Research Collection)
(see from Monash University. Library. Asian Studies Research Collection)
(see from Monash University. Sir Louis Matheson Library. Asian Studies Research
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For a detailed biography of the two brothers, please refer to the study by Dominique Pety on Dictionnaire critique des historiens de l’art, published by the Institut national d'histoire de l'art. They were naturalist novelists, historians of the art of the 18th century, of which they were great aficionados, and were also interested in the arts of China and Japan, which was gradually accessible in Paris starting in the Second Empire. It is this second aspect that will be examined here.

They staked themselves out as pioneers in this field, at a time when Chinese objects began appearing in large numbers on the Parisian market, especially after the sack of the Summer Palace in October 1860, and the opening of trade with Japan through the treaty signed in Edo in October 1858 led to the presence from 1862 of Japanese books, prints, and objects among merchants who until then had specialised in chinoiseries.

Thus in 1884, in the preface to Chérie, Edmond de Goncourt reported his brother's remarks about their first novel En 18..., in which two Oriental bronzes are described on a fi

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