Maison Devambez is the name of a fine printer's firm in Paris. It operated under that name from 1873, when a printing business established by the royal engraver Hippolyte Brasseux in 1826 was acquired by Édouard Devambez. At first the firm specialized in heraldic engraving, engraved letterheads and invitations. Devambez clients included the House of Bonaparte and the Élysée Palace. Devambez widened the scope of the business to include advertising and publicity, artists’ prints, luxurious limited edition books, an important art gallery; the House became recognized as one of the foremost fine engravers in Paris, winning numerous medals and honours. With the artist Édouard Chimot as Editor after the First World War, a series of limited edition art books, employing leading French artists and affichistes, reached a high point under the imprimatur A l'Enseigne du Masque d'Or – the Sign of the Golden Mask and with PAN in collaboration with Paul Poiret. Édouard's son, André Devambez, became a famous painter and illustrator after receiving the Prix de Rome.
The engraving business acquired by Devambez just before the Franco-Prussian War was founded in 1827 at No. 17, passage des Panoramas, as a "modest store" by Brasseux the younger. He was the younger brother of Brasseux the older, an engraver established in the galleries of the Palais-Royal, known to work for king Louis Philippe I; as his brother, Brasseux the younger was specialized in stamps, heraldic engraving and stone engraving. In 1835, the business was moved to n°5 of the passage, due to the renovation of the latter. According to an article published in 1927 in L'ami des lettrés, Brasseux the younger was moderately successful in his business and did not succeed to enlarge his customer base, he sold the business in 1863 to a M. Beltz. Beltz in turn sold the business who ran it for the next seven years, after which it was bought by Édouard Devambez.Édouard Devambez was born on 11 March 1844 in Saumont-la-Poterie, Seine-Maritime. He served an apprenticeship with the prestigious engravers Jules Joseph Foulonneau and Jean Henri Hillekamp at 4, Galerie Vivienne, Paris.
When Édouard Devambez married Catherine Veret in 1864, he was entering the illustrious dynasty of Muret and Veret - two families prominent in engraving at the beginning of the 19th century. In 1873, Devambez acquired the atelier at 5, Passage des Panoramas, leaving his worshop of rue Saint-Thomas. Édouard Devambez was not an artisan, but an artist. This artistic temperament ensured a scrupulous attention to questions of taste and appropriateness in typography and design. Devambez began exhibiting his work at the Exposition Universelle in Paris, winning a bronze medal in 1878 and a silver medal in 1889 in the category "artistic printing and heraldic painting". Among the specialities of La Maison Devambez at this time were: production. In 1890, the business moved to 63, Passage des Panoramas, where what began as a simple printing studio became a prestigious store that attracted clients such as the House of Orléans, Roland Bonaparte, the Tsar Ferdinand I of Bulgaria and the Élysée Palace and the Hôtel de Ville, entrusted with the printing of official menus and programmes for receptions for visiting foreign monarchs such as the Emperor of Russia Nicholas II and the Empress Alexandra Feodorovna for their visit in Dunkerque on 18 September 1901.
Devambez was appointed official engraver to the Royal Family of Portugal. Devambez produced the traditional Livre d’Or for important events such as visits by the King of Spain or the King of Great Britain, Livres d’Or for the Pasteur Institute, the Red Cross and others. After World War I the firm produced Livres d’Or to commemorate the fallen, for instance the Livre d’Or de la Compagnie Algérienne 1914-1918; the reputation of La Maison Devambez continued to grow, with further medals at the Expositions Universelles, with a gold medal at Brussels in 1897, a Diploma of Honour at Toronto in 1898, a gold medal in the category "engraving and printing" at the Exposition Universelle de Paris in 1900. At this exhibition, he was named a Chevalier de la Légion d’honneur, obtained the prestigious title of Notable Commerçant. M. Lahure, reporting on the 1900 Exposition, wrote:'Monsieur Devambez, with the soul of an artist, loves his art with a passion, but this has not hampered him in making the House of Devambez one of the foremost engravers in Paris.
His whole exhibit shows so artistic a taste and so meticulous an execution that the reputation acquired by M. Devambez would have grown more, if, possible.'" The expansion of the business so far beyond its original boundaries necessitated an expansion of the premises. Rather than moving out of the Passage des Panoramas, where his main rival Stern was located, Devambez took over two further adjacent shops. Édouard Devambez died on 2 June 1923. The Galerie Devambez was opened at 43, Boulevard Malesherbes in 1897, it was used purely as a sales outlet for original prints – lithographs, drypoints – and facsimile prints of watercolours. During the First World War the Galerie was used by the Louvre to sell prints created by the Chalcographie du Louvre; the first Catalogue d’Estampes d’Art, Éditions de Grand Luxe de la Galerie Devambez lis
Madame Louise Chéruit, born Louise Lemaire erroneously called Mme Madeleine Chéruit, was among the foremost couturiers of her generation, one of the first women to control a major French fashion house. Her salon operated in the Place Vendôme in Paris under the name Chéruit from 1906 to 1935. Chéruit is best remembered today as the subject of a number of portraits by Paul César Helleu, with whom she conducted an affair before opening her couture house and for the appearance of her name in two celebrated works of literature, Marcel Proust's Remembrance of Things Past and Evelyn Waugh's Vile Bodies, her name is frequently associated with the fashion photography of Edward Steichen whose favorite model, Marion Morehouse wore gowns from the house of Chéruit for Vogue magazine in the 1920s. One particular Steichen image has become iconic: Morehouse in a jet-beaded black net Chéruit dress, first published in 1927. Many basic facts about the life of Madame Chéruit are uncertain, although recent research shows that her forename was not "Madeleine," as so many traditional fashion resources claim.
According to the Carnavalet Museum, Mme "Madeleine" Chéruit was born on 9 June 1866. Vogue magazine described her as "a Louis XVI woman because she has the daintiness, the extravagant tastes, the exquisite charm, the art of those French ladies who went gaily through the pre-revolution epoch." Louise, whose mother was a seamstress, received her early professional training in dressmaking in the late 1880s with Raudnitz & Cie, located in the heart of Paris. The salon appealed to women who wanted ensembles that exuded an air of youthfulness and simplicity made of the finest fabrics. Mme Chéruit’s talent, alongside that of her sister Marie Huet, was such that they ascended to leading positions within the firm. On 28 August 1895, Louise married Prosper Chéruit who supported her creative talents and contributed to some business aspects of her early career. Mme Chéruit notably helped launch the career of Paul Poiret, one of the early twentieth century’s most visionary designers, by buying a collection of twelve of his first designs in 1898.
By 1900, labels sewn into clothes created at Raudnitz bore the words, Raudnitz & Cie, Huet & Chéruit Srs. 21, Place Vendôme, Paris – with the names of the sisters in more prominent type. By 1905, the firm's labels read, Anc.ne Mon.. Raudnitz & Cie; the next year, 1906, the fashion house with its more than 100 employees became her own, was rechristened "Chéruit." The salon occupied the distinguished hôtel de Fontpertuis on Place Vendôme, built in the 17th century by Pierre Bullet. Louise Cheruit commissioned an architect to expand the premises to serve her growing clientele. By 1910 Mme. Chéruit was one of the most celebrated designers in Paris, the unveiling of her latest collections followed by the press, her image drawn by leading artists, her name mentioned by the ubiquitous Marcel Proust in his Remembrance of Things Past; as one of the leaders of French style, Chéruit and her house of couture took fashion from the Belle Époque through the Jazz Age. In 1910, one reporter wrote glowingly, "With taste, so original, so fine, so personal, Madame Chéruit has placed her house of fashion at the first rank, not only in Paris, but in the entire world."
During her career, Chéruit refined for her aristocratic clientele the creative excesses of some of her contemporaries, offering soft, richly ornamented dresses which helped transition the couture industry from the glamour of high fashion to the reality of ready-to-wear. In 1912, Mme. Chéruit signed a contract to collaborate with Lucien Vogel to produce the fashion magazine, La Gazette du Bon Ton. Six other top Paris designers – Georges Doeuillet, Jacques Doucet, Jeanne Paquin, Paul Poiret and the House of Worth – joined the project. Vogel hired leading Art Deco artists to fill the journal's pages with striking illustrations of the designers' fashions along with essays by noted writers; the magazine printed images on fine papers using the expensive pochoir technique, making it a exclusive venue for showcasing the couturiers' latest designs. Mme. Chéruit had a special affection for the artistic style of Pierre Brissaud, he created most of the illustrations of her work that appeared in the pages of La Gazette du Bon Ton.
Mme Chéruit’s aesthetic was traditionally feminine, incorporating soft fabrics, pastel colors and rare embroideries, but she was innovative in line and cut. In late 1911 she introduced the pannier gown, full at the hips and tapering to an ankle-length hem, which recalled French court fashions of the 18th century. Delicate evening dresses may have been her forte, but she was adept at elegant street wear, by 1914 her walking suits and afternoon gowns were fashion staples; when World War I struck, most Paris fashion houses shut down or reduced production, but Chéruit remained operational. However, in 1914, following a scandal involving her lover, an Austrian nobleman and military officer, accused of espionage, Cheruit was forced into seclusion, a startling end to her enormous celebrity in French society. Despite rumors that she was guilty of spying for the Germans herself and, if tried, might be executed, Chéruit maintained an unswerving, if behind-the-scenes, influence on the artistic direction of her company.
In early 1915 the house of Chéruit was acquired by its directors Mesdames Wormser and Boulanger, Vogue observed, kept the salon "to its original type" while bringing "much originality to it." In addition to evening gowns, the house was known for chic cinema wraps, lingerie, wedding trousseaus children’s clothing in rayon. Fascinated by the effect of
Fortune is an American multinational business magazine headquartered in New York City, United States. It is published by Fortune Media Group Holdings, owned by Thai businessman Chatchaval Jiaravanon; the publication was founded by Henry Luce in 1929. The magazine competes with Forbes and Bloomberg Businessweek in the national business magazine category and distinguishes itself with long, in-depth feature articles; the magazine publishes ranked lists, including the Fortune 500, a ranking of companies by revenue that it has published annually since 1955. Fortune was founded by Time co-founder Henry Luce in 1929 as "the Ideal Super-Class Magazine", a "distinguished and de luxe" publication "vividly portraying and recording the Industrial Civilization". Briton Hadden, Luce's business partner, was not enthusiastic about the idea – which Luce thought to title Power – but Luce went forward with it after Hadden's sudden death on February 27, 1929. In late October 1929, the Wall Street Crash of 1929 occurred, marking the onset of the Great Depression.
In a memo to the Time Inc. board in November 1929, Luce wrote: "We will not be over-optimistic. We will recognize that this business slump may last as long as an entire year." The publication made its official debut in February 1930. Its editor was Luce, managing editor Parker Lloyd-Smith, art director Thomas Maitland Cleland. Single copies of the first issue cost US$1. An urban legend says that Cleland mocked up the cover of the first issue with the $1 price because no one had yet decided how much to charge. In fact, there were 30,000 subscribers who had signed up to receive that initial 184-page issue. By 1937, the number of subscribers had grown to 460,000, the magazine had turned half million dollars in annual profit. At a time when business publications were little more than numbers and statistics printed in black and white, Fortune was an oversized 11"×14", using creamy heavy paper, art on a cover printed by a special process. Fortune was noted for its photography, featuring the work of Margaret Bourke-White, Ansel Adams, others.
Walker Evans served as its photography editor from 1945 to 1965. During the Great Depression, the magazine developed a reputation for its social conscience, for Walker Evans and Margaret Bourke-White's color photographs, for a team of writers including James Agee, Archibald MacLeish, John Kenneth Galbraith, Alfred Kazin, hired for their writing abilities; the magazine became an important leg of Luce's media empire. From its launch in 1930 to 1978, Fortune was published monthly. In January 1978, it began publishing biweekly. In October 2009, citing declining advertising revenue and circulation, Fortune began publishing every three weeks. Fortune is published 14 times a year. Marshall Loeb was named managing editor in 1986. During his tenure at Fortune, Loeb was credited with expanding the traditional focus on business and the economy with added graphs and tables, as well as the addition of articles on topics such as executive life and social issues connected to the world of business, including the effectiveness of public schools and on homelessness.
During the years when Time Warner owned Time Inc. Fortune articles were hosted at CNNMoney.com. In June 2014, after Time Inc. spun off from its corporate parent, Fortune launched its own website at Fortune.com. On November 26, 2017, it was announced that Meredith Corporation would acquire Time Inc. in a $2.8 billion deal. The acquisition was completed on January 31, 2018. On November 9, 2018, it was announced that Meredith Corporation was selling Fortune to Thai billionaire Chatchaval Jiaravanon for $150 million. Jiaravanon is affiliated with the Thailand-based conglomerate Charoen Pokphand Group, which has holdings in agriculture, telecommunications, retail and finance. Fortune publishes ranked lists. In the human resources field, for example, it publishes a list of the Best Companies to Work For. Lists include companies ranked in order of gross revenue and business profile, as well as business leaders: There have been 17 top editors since Fortune was conceived in 1929. Following the elimination of the editor-in-chief role at Time Inc. in October 2013, the top editor's title was changed from "managing editor" to "editor" in 2014.
Fortune Battle of the Corporate Bands, an annual music competition for amateur company-sponsored bands List of United States magazines James S. Miller, "White-Collar Excavations: Fortune Magazine and the Invention of the Industrial Folk," American Periodicals, vol. 13, pp. 84–104. In JSTOR Official website Fortune Latinamerica Fortune India Fortune China Fortune Turkey List of 100 Best Companies to Work For "Fortune Data Store". Fortune. Time.. Complete downloadable list of Fortune 500/1000 Companies – 1955–2008
Bernard Boutet de Monvel
Bernard Boutet de Monvel was a French painter, engraver, fashion illustrator and interior decorator. Although first known for his etchings, he earned notability for his paintings his geometric paintings from the 1900s and his Moroccan paintings made during World War I. In both Europe and the United States, where he traveled, he became known as a portrait painter for high society clients, he was born in Paris's 4th district, the son of the painter and children's illustrator Louis-Maurice Boutet de Monvel. His brother Roger became a well-known writer, he was raised in both Paris and Nemours, he set his sights on becoming a painter from the age of sixteen. Starting in 1897, he studied with Jean Dampt. In 1898, he was introduced to etching by the American painter Louis McClellan Potter and soon mastered the technique. Boutet de Monvel focused on colour etching using the'au repérage' method, which required a separate plate for each colour; some of his earliest etchings were of his brother Roger — L'habitué.
He made work celebrating as the citizens of Nemours and the riverbanks of the Loing. The Studio devoted an article to these early works entitled "Coloured Etching in France" in 1901. Following this, his etchings revolved around dandies of the past. Examples include Le beau, he took the countryside surrounding Nemours as a subject in works such as L'heure du repos. In 1912, The Art Institute of Chicago devoted a retrospective to his colour prints. Boutet de Monvel was working in oil painting portraits, which he began to exhibit at the Société Nationale des Beaux-Arts in 1903, he subsequently began sending works to the Salon des Indépendants as well. In 1907, he began to send his works to exhibitions in the United States at the Carnegie Institute of Pittsburgh. Early paintings like Les boucheries were starkly composed with bright pigments and strong blue shadows. In 1904, after a field trip to Florence, he shifted to a pointillist style; the light in the paintings became more vibrant and perspective disappeared.
Examples of work in this style include Le Sophora. His 1908 self-portrait entitled The Portrait, which showed him in the Nemours countryside on a stormy day flanked by two greyhounds, earned him critical recognition and nomination to membership in the Société Nationale des Beaux-Arts. In 1909, Boutet de Monvel exhibited at Devambez Gallery a manifesto painting entitled Esquisse, a portrait made using only a ruler and a pair of compasses; this geometric vision of a dandy drew critical censure and mockery of it as "rectilinear painting." Nonetheless, it laid the foundations for his signature style and helped to develop a path towards the style known as Art Deco. Working with a refined geometric linearity, he reduced his palette to black and a few greys and earth tones handled as flat tints, he tended to draw from a low perspective angle to accentuate the monumentality of his subjects. Works from this period include Comte Pierre de Quinsonas. André Dunoyer de Segonzac and Jean-Louis Boussingault.
For financial reasons, Boutet de Monvel contributed illustrations fashion drawings, to magazines such as Fémina, Jardin des modes nouvelles, Gazette du Bon Ton. Among those he worked with were the fashion designer Paul Poiret, an early admirer of his talent, the illustrator Georges Barbier, who were cofounders of the Journal des Dames et des Modes, he was associated with the Mortigny Circle, which included Pierre Brissaud, Lucien-Victor Guirand de Scevola, Pierre Troisgros, others. When war broke out in 1914, Boutet de Monvel was called up as a reservist, he was injured during the Battle of the Marne. After a brief recovery he joined the 4th Bombardment Group as a bombardier; when the group disbanded in November 1915, he was appointed to the Orient Bombardment Group, based in Salonika, Macedonia. In June 1916, when this group disbanded in turn, he joined a new squadron, the C389. In September 1916, he and his pilot flew from Salonika to Bucharest, a feat that earned recognition in both France and Romania.
After several plane accidents, Boutet de Monvel left Macedonia in June 1917 with the Légion d'Honneur award and five commendations. He was transferred to Fez, where the 551st squadron was based, in October 1917. At the request of General Lyautey, the Resident-General of French Morocco, he began to paint again for the first time since war had been declared. Continuing in his rectilinear style, he painted the city of Fez and its inhabitants at all hours of the day, he painted in Rabat and Marrakesh. In the year and a half before he was demobilized in March 1919, he created a singular and powerful vision of Morocco, whose austerity kept it far from orientalist cliché, his Moroccan paintings and his bas-reliefs, which Boutet de Monvel always considered his finest work, were exhibited in 1925 at the Henri Barbazanges gallery under the patronage of Marshal Lyautey. The introductory text to the catalogue, written by Jérôme and Jean Tharaud, ended with these words: “ Boutet de Monvel set down on paper the appearance of a day and forever, just at the point where this profound element
Vincent van Gogh
Vincent Willem van Gogh was a Dutch post-impressionist painter, among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings, most of them in the last two years of his life, they include landscapes, still lifes and self-portraits, are characterised by bold colours and dramatic and expressive brushwork that contributed to the foundations of modern art. However, he was not commercially successful, his suicide at 37 followed years of mental illness and poverty. Born into an upper-middle-class family, Van Gogh drew as a child and was serious and thoughtful; as a young man he worked as an art dealer travelling, but became depressed after he was transferred to London. He spent time as a Protestant missionary in southern Belgium, he drifted in ill health and solitude before taking up painting in 1881, having moved back home with his parents. His younger brother Theo supported him financially, the two kept up a long correspondence by letter.
His early works still lifes and depictions of peasant labourers, contain few signs of the vivid colour that distinguished his work. In 1886, he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility; as his work developed he created a new approach to still lifes and local landscapes. His paintings grew brighter in colour as he developed a style that became realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include series of olive trees, wheat fields and sunflowers. Van Gogh suffered from psychotic episodes and delusions and though he worried about his mental stability, he neglected his physical health, did not eat properly and drank heavily, his friendship with Gauguin ended after a confrontation with a razor when, in a rage, he severed part of his own left ear. He spent time including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homeopathic doctor Paul Gachet.
His depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a Lefaucheux revolver. He died from his injuries two days later. Van Gogh was unsuccessful during his lifetime, was considered a madman and a failure, he became famous after his suicide, exists in the public imagination as the quintessential misunderstood genius, the artist "where discourses on madness and creativity converge". His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and German Expressionists, he attained widespread critical and popular success over the ensuing decades, is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist. Today, Van Gogh's works are among the world's most expensive paintings to have sold at auction, his legacy is honoured by a museum in his name, the Van Gogh Museum in Amsterdam, which holds the world's largest collection of his paintings and drawings.
The most comprehensive primary source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, most of what is known of Vincent's thoughts and theories of art, are recorded in the hundreds of letters they exchanged from 1872 until 1890. Theo van Gogh was an art dealer and provided his brother with financial and emotional support, access to influential people on the contemporary art scene. Theo kept all of Vincent's letters to him. After both had died, Theo's widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913. Vincent's letters are eloquent and expressive and have been described as having a "diary-like intimacy", read in parts like autobiography; the translator Arnold Pomerans wrote that their publication adds a "fresh dimension to the understanding of Van Gogh's artistic achievement, an understanding granted us by no other painter". There are more than 600 letters from around 40 from Theo to Vincent.
There are 22 to his sister Wil, 58 to the painter Anthon van Rappard, 22 to Émile Bernard as well as individual letters to Paul Signac, Paul Gauguin and the critic Albert Aurier. Some are illustrated with sketches. Many are undated. Problems in transcription and dating remain with those posted from Arles. While there Vincent wrote around 200 letters in Dutch and English. There is a gap in the record when he lived in Paris as the brothers lived together and had no need to correspond. Vincent Willem van Gogh was born on 30 March 1853 into a Dutch Reformed family in Groot-Zundert, in the predominantly Catholic province of North Brabant in the southern Netherlands, he was the oldest surviving child of Theodorus van Gogh, a minister of the Dutch Reformed Church, Anna Cornelia Carbentus. Van Gogh was given the name of his grandfather, of a brother stillborn a year before his birth. Vincent was a common name in the Van Gogh family: his grandfather, who received a degree in theology at the University of Leiden in 1811, had six sons, three of whom became art dealers.
This Vincent may have been named after a sculptor. Van Gogh's mother came from a prosperous family in The Hague, his father was the youngest son of a minister; the two
Netherlands Institute for Art History
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation and books on Western art from the late Middle Ages until modern times. All of this is open to the public, much of it has been digitized and is available on their website; the main goal of the bureau is to collect and make art research available, most notably in the field of Dutch Masters. Via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries; the library owns 450,000 titles, of which ca. 150,000 are auction catalogs. There are ca. 3,000 magazines, of which 600 are running subscriptions. Though most of the text is in Dutch, the standard record format includes a link to library entries and images of known works, which include English as well as Dutch titles; the RKD manages the Dutch version of the Art and Architecture Thesaurus, a thesaurus of terms for management of information on art and architecture.
The original version is an initiative of the Getty Research Institute in California. The collection was started through bequests by Frits Lugt, art historian and owner of a massive collection of drawings and prints, Cornelis Hofstede de Groot, a collector, art historian and museum curator, their bequest formed the basis for both the art collection and the library, now housed in the Koninklijke Bibliotheek. Though not all of the library's holdings have been digitised, much of its metadata is accessible online; the website itself is available in both an English user interface. In the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/artists/ followed by the artist's record number. For example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number.
To reference an artwork page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/images/ followed by the artwork's record number. For example, the artwork record number for The Night Watch is 3063, so its RKD artwork page can be referenced; the Art and Architecture Thesaurus assigns a record for each term, but these can not be referenced online by record number. Rather, they are used in the databases and the databases can be searched for terms. For example, the painting called "The Night Watch" is a militia painting, all records fitting this keyword can be seen by selecting this from the image screen; the thesaurus is a set of general terms, but the RKD contains a database for an alternate form of describing artworks, that today is filled with biblical references. This is the iconclass database. To see all images that depict Miriam's dance, the associated iconclass code 71E1232 can be used as a special search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
House & Garden (magazine)
House & Garden is an American shelter magazine published by Condé Nast Publications that focusses on interior design and gardening. Its US edition ceased in 1993, after an unsuccessful relaunch was closed again in 2007. Foreign editions of the magazine are still published in the United South Africa. A Greek edition was launched in November 2007; the magazine was launched in 1901 as a journal devoted to architecture. Its founding editors were Herbert C. Wise, Wilson Eyre, Frank Miles Day, all Philadelphia, architects; the magazine became part of Condé Montrose Nast's publishing empire when he bought an interest in it in 1911. Nast transformed it into a magazine about interior design, as part of his trend toward specialized publications aimed at niche markets. A UK edition was planned to be launched in the late 1930s, but was cancelled due to World War II; the magazine was published in February 1947, although paper restrictions meant that there were only seven pages in colour and, until 1952, just four editions each year.
The founding editor was Anthony Hunt, followed by Michael Middleton, before Robert Harling took over for a 36-year tenure between 1957 to 1993. Harling was succeeded by Sue Crewe, who edited the magazine until September 2014 when she moved to the Conde Nast website House, was replaced by Hatta Byng; the success of the magazine owes much to Robert Harling, appointed Editor in 1957 by Pat, the Head of Condé Nast, following his recommendation by close friend Ian Fleming, the author and creator of James Bond. Harling appointed a staff of 18, which included Leonie Highton, John Bridges, three advisers: Elizabeth David, Duchess of Westminster, Olive Sullivan. Harling revitalised House & Garden, produced a magazine which contrasted the ancient and modern, with colour and simplicity. Besides the magazine, he launched a series of books on the same theme, starting in 1959 with House & Garden Interiors and Colour. Ten more books followed, his last contributions being the House & Garden Book of Romantic Rooms, House & Garden Book of Classic Rooms.
The editors in chief of House & Garden in the United Kingdom were: The US magazine was renamed HG with its March 1988 issue, under editor in chief Anna Wintour of British Vogue. Its new emphasis on mixing fashion and interior decoration in its pages led the revamped magazine to be derided as House & Garment by its critics. Wintour became editor in chief of Vogue in 1988. House & Garden was relaunched in 1995 under editor in chief Dominique Browning. Condé Nast Publications announced on 5 November 2007 that the magazine was being closed again, stating that "we no longer believe it is a viable business investment for the company." The magazine's US offices closed on 9 November 2007, the last US issue was December 2007. The editors in chief of House & Garden in the United States were: House & Garden Book of Country Rooms, Leonie Highton, Vendome Press House & Garden Book of Country Gardens, Leonie Highton, Ebury Press House & Garden Book Of Vacation Homes & Hideaways, Leonie Highton, Ebury Press House & Garden Book of Kitchens and Dining Rooms, Leonie Highton, Ebury Press House & Garden Book Of Country Chic, Leonie Highton, Ebury Press House & Garden Book Of Bedrooms & Bathrooms, Leonie Highton, Ebury Press House & Garden Book of Drawing-Rooms and Sitting-Rooms, Robert Harling, Leonie Highton, John Bridges, Conde Nast, London House & Garden Book of Living-Rooms, Leonie Highton, Robert Harling, John Bridges, Vendome Press House & Garden Book of Classic Rooms, Robert Harling, Leonie Highton, John Bridges and Windus House & Garden Book of Romantic Rooms, Robert Harling, Leonie Highton, John Bridges, Harper Collins Entertaining with House and garden: 600 recipes for successful menus and parties, Leonie Highton, Treasure British Gardeners.
A biographical dictionary, Miles Hadfield, Robert Harling & Leonie Highton, Condé Nast, London Entertaining with House and garden: 600 recipes for successful menus and parties, Leonie Highton, Cathay Books, London House & Garden Book of Home Storage: Guide to Organization and Arrangement, Leonie, Collins House & Garden guide to interior decoration, Robert Harling, Leonie Highton, Yvonne Jaques, Nigel Kendall House & Garden Interiors and Colour', Robert Harling Official website House & Garden at the HathiTrust MediaWeek article about House & Garden's 2007 closing Washington Post article about House & Garden's 2007 closing WWD article about the 2007 closing article about the 2007 closing in The New York Times Obituary in The Independent 8 July 2008