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Johann Baptist Homann and his progeny were renowned and prolific 18th century makers and publishers of maps. Born in Oberkammlach, a small Bavarian town in southern Germany, Homann initially studied theology with the intention of becoming a Dominican monk. A radical change of heart led him to convert to Protestantism in 1687. This turning-point decision provoked a move to Nuremberg and then, in around 1693, a further move onto Vienna.
He lived in this delightfully inspiring Austrian town for two years, perfecting the craft and trade of copper plate engraving and printing. Having achieved great confidence in his abilities, and nurturing an obvious talent for exacting detail and the precision touch of a master engraver, he returned to Nuremberg with definite plans for his future. It was here that he established what was to become an extraordinary, family-run publishing house, second to none for the production of quality, detailed maps.
Working from Nuremberg, the Homann publishing dynasty strived to better the established Dutch, French and English houses. With not only a by now highly trained skill for map-making, but also a keen sense for business, Homann had already established that in starting his company at this point, he had two distinct advantages to his credit: firstly the production costs in Germany were considerably greater in Holland, France and England. As this was where the majority of his rivals were, his initial advantage was clear. His second clear trump was the lack of any maps with significant practical and functional detail in the early to mid 18th century.
There were, of course, the likes of Robert Morden and John Cary in London, producing deliberately plainer maps compared to the more lavishly decorated pieces of the previous century. Their steer away from graphic artistry was not replaced by a vast increase in detail, but more a semblance of clarity and ease-of-use. In France, map makers like Vaugondy and de L'Isle were producing works of considerable detail, with the inherent aesthetic French flair, giving the feel of a work or art rather than science, and producing them on slightly lower grade paper to meet costs.
Production from the establishment of Homann then hit the map world hard with his astonishingly detailed copper engraved maps, the only decoration being an often incongruous but beautiful uncoloured cartouches, and what was to become Homann's signature three tone colour wash of pink, green and yellow. The brave switch from simple outline hand colour, the detailed yet not overburdened map face, and production at a financially viable fee, proved key factors in achieving a certain notoriety in cartographic circles.
Indeed, the year of 1715 saw Homann's notoriety break into other very lucrative circles. Firstly, he was appointed Imperial Cartographer to the Holy Roman Emperor Charles the VI. Then, in that same remarkable year, he was also appointed a member of the Royal Academy of Sciences in Berlin.
As imperial cartographer, the title came with an element of imperial 'copyright' and the Latin adage: Cum Priviligio, (or similar variations of this term) may be seen on most Homann maps printed between 1715 and 1730, showing that only Homann had, in effect, the official 'privilege' of reproducing these Imperial maps.
Homann's died in 1726, and the firm went to his son Johann Christoph. Cleverly, as he understood that he would not live for much longer, Johann Christoph willed the by now established and successful firm to his two trusted managers: Johann George Ebersberger and Johann Michael Franz, their willed obligations being that they would publish any future work from his father's existing plates with the engraved epithet Homann Heirs.
The business continued to produce maps retaining the original Johann Baptiste Homann signature style and colouring, plus some more rather eccentric additions, until the death of its last owner, Christoph Fembo in 1848.
He lived in this delightfully inspiring Austrian town for two years, perfecting the craft and trade of copper plate engraving and printing. Having achieved great confidence in his abilities, and nurturing an obvious talent for exacting detail and the precision touch of a master engraver, he returned to Nuremberg with definite plans for his future. It was here that he established what was to become an extraordinary, family-run publishing house, second to none for the production of quality, detailed maps.
Working from Nuremberg, the Homann publishing dynasty strived to better the established Dutch, French and English houses. With not only a by now highly trained skill for map-making, but also a keen sense for business, Homann had already established that in starting his company at this point, he had two distinct advantages to his credit: firstly the production costs in Germany were considerably greater in Holland, France and England. As this was where the majority of his rivals were, his initial advantage was clear. His second clear trump was the lack of any maps with significant practical and functional detail in the early to mid 18th century.
There were, of course, the likes of Robert Morden and John Cary in London, producing deliberately plainer maps compared to the more lavishly decorated pieces of the previous century. Their steer away from graphic artistry was not replaced by a vast increase in detail, but more a semblance of clarity and ease-of-use. In France, map makers like Vaugondy and de L'Isle were producing works of considerable detail, with the inherent aesthetic French flair, giving the feel of a work or art rather than science, and producing them on slightly lower grade paper to meet costs.
Production from the establishment of Homann then hit the map world hard with his astonishingly detailed copper engraved maps, the only decoration being an often incongruous but beautiful uncoloured cartouches, and what was to become Homann's signature three tone colour wash of pink, green and yellow. The brave switch from simple outline hand colour, the detailed yet not overburdened map face, and production at a financially viable fee, proved key factors in achieving a certain notoriety in cartographic circles.
Indeed, the year of 1715 saw Homann's notoriety break into other very lucrative circles. Firstly, he was appointed Imperial Cartographer to the Holy Roman Emperor Charles the VI. Then, in that same remarkable year, he was also appointed a member of the Royal Academy of Sciences in Berlin.
As imperial cartographer, the title came with an element of imperial 'copyright' and the Latin adage: Cum Priviligio, (or similar variations of this term) may be seen on most Homann maps printed between 1715 and 1730, showing that only Homann had, in effect, the official 'privilege' of reproducing these Imperial maps.
Homann's died in 1726, and the firm went to his son Johann Christoph. Cleverly, as he understood that he would not live for much longer, Johann Christoph willed the by now established and successful firm to his two trusted managers: Johann George Ebersberger and Johann Michael Franz, their willed obligations being that they would publish any future work from his father's existing plates with the engraved epithet Homann Heirs.
The business continued to produce maps retaining the original Johann Baptiste Homann signature style and colouring, plus some more rather eccentric additions, until the death of its last owner, Christoph Fembo in 1848.