John Dugmore, Ledoyen Cafe in der Champs-Elysées -Early des 19. Jahrhunderts Tuschezeichnung
Ein originelles dem frühen 19. Jahrhundert Stift und Tusche-Zeichnung, John Dugmore von Swaffham, Ledoyen Cafe in den Champs-Elysées in Paris.
Eine faszinierende und seltene Tintenzeichnung von britischem Zeichner und Grand-Tourist John Dugmore von Swaffham (1793-1871). Die Ansicht zeigt ‚Ein Café in der Champs-Elysées‘ von der renommierten Ledoyen Familie aus dem 18. Jahrhundert Caterer. Das Café heißt 'Ledoyen oncle Restaurateur', die in der 1820 Almanach du commerce de Paris als 'Traiteur' (oder Caterer) in den Champs-Elysées aufgeführt ist. Heute ist der Ledoyen Name ist bekannt in Verbindung mit dem Pavillon Ledoyen in dem Champs-Elysées, Paris ältester erhaltene, jetzt mit drei Michelin-Sternen ausgezeichnetes, Restaurant.
Diese Zeichnung zeichnet eine Zeit, in der Gegend um die Champs-Elysées war das Land, mit Feldern von weidenden Kühen und verstreut mit Landgasthof, das frische Milch von den nahe gelegenen Kühen. Die Pensionen in der Höhe der Französisch Revolution, und die in der Nähe Au Dauphin Gasthof in der Nähe des Place Louis XV (aktuelle Place de la Concorde) blühten wurden 1791 von Pierre-Michel Ledoyen übernommen (die zu dem Champs-Elysées im Jahr 1842 bewegen würden und werden den heutigen berühmten Pavillon Ledoyen). Ledoyen illustren Förderern enthalten Louis de Saint-Just und Maximilien Robespierre, der dort zu Abend gegessen zwei Tage vor ihrer Hinrichtung im Jahre 1794, zusammen mit Napoleon und Joséphine de Beauharnais und Schriftsteller und Künstler wie Danton, Marat, Degas, Monet, Zola, Flau und Guy de Maupassant.
ähnlich wie das Restaurant in diesem Bild, das Original Ledoyen Gebäude werden beschrieben als ein kleines Gasthaus mit weißen Wänden und grünen Fensterläden.
John Dugmore von Swaffham (1793-1871 ) wurde im Jahr 1793 in Norfolk Adel geboren, aus einer tiefen klassischen Ausbildung profitierte und einen anspruchsvollen Geschmack in der Kunst entwickelt. Auf nach London zieht seinen Ruhm und Reichtum im Royal Court zu suchen, traf er den Mann, der seinen Gönner werden sollte, William Charles Keppel (1772-1849), 4. Graf von Albemarle. Es wird angenommen, dass Dugmore verantwortlich für die Bildung Keppel Kinder, und er begleitete eine von Keppel Sohn auf einer Grand Tour in 1820. über einen Zeitraum von 20 Monaten, ging er von Schottland nach Westböhmen, Frankreich, der Schweiz und Italien, der Aufzeichnung der Sehenswürdigkeiten und Ansichten, denen er begegnete. Diese Zeichnung ist sehr wahrscheinlich das Produkt dieser Tour.
Dugmore Arbeit hat nicht nur sein visuelle Zeugen der Form vielen Haupt- und Neben europäischen Städten, sondern auch für seine Fähigkeit, in Gefühl und Verstärken der gelobt ästhetische Nachrichten, die er Platz um Platz zu treffen. Es wird vermutet, dass sein Zeichenstil variiert je nach Landschaft, seine deutschen Zeichnungen sehr linear und rein zu sein, und sein Französisch Zeichnungen sind ‚berührt‘ mit Bleistift und Pinsel in eine Weise, die weitgehend zu erwarten, dass die impressionistische Idee des Lichts scheint. < / p>
auf Velin auf braunem Trägerpapier festgelegt
Herkunft:.. William Drummond (Covent Garden Gallery, London)
Details
- Signed: Nein.
- Inscribed: Einbeschrieben untere Mitte auf Trägerpapier. Bären William Drummond des Händlers Katalogisierungsnummer.
- Dated: -
- Height (cm): 16.4 Width (cm): 23.9
- Height (inches): 6.46 Width (inches): 9.41
- Condition: In sehr guten Zustand für sein Alter. Es gibt zwei kleine Flecken in Richtung der unteren Kante des Papiers foxing. Bitte siehe Fotos für Details.
- Presented: Unframed.
- Stock Number: JP-562
Dies ist eines aus einer Sammlung von herausragenden Werken, die wir zum Verkauf von John Dugmore von Swaffham haben (1793-1871), Ansichten, in Frankreich, Deutschland, die Schweiz, Belgien und Schottland.
Die Kunst in diesen Aquarellen offensichtlich ist ziemlich atemberaubend-die technischen Fähigkeiten in Rendering-Perspektive und Proportion, perfekte Abstufung von Licht und Schatten, sorgfältiger Abgrenzung Detail. Aber nicht nur das, besetzen diese Werke einen faszinierenden Ort in der Geschichte der Topographie und topographischen Kunst.
Es ist auf die Antiquare des 18. und frühen 19. Jahrhundert, und ihre Impuls Aufzeichnungen der Welt zu sammeln um sie, dass wir verdanken viel von dem Wissen, das wir heute über Landschaften haben seit verloren oder verändert werden. Dugmore Zeichnungen sind ein Teil dieser Bemühungen, und durch seine Verbindung mit William Charles Keppel (1772-1849), stellen sie diese Bemühungen unter den höchsten Rängen der britischen Gesellschaft-eine Anstrengung, die dem Monarchen selbst verlängert, George III.
angehäuft George III eine Sammlung von 50.000 Stück von topographischem Interesse zwischen 1760 und 1820. von den gesamten Sammlung enthaltenden Karten, topografischen Zeichnungen, Aquarelle und Drucke-etwa ein Drittel bezieht seinen Tod zu den Ländern Europas mit der damit verbundenen Große Tour. Dieses Bestreben erzählt uns viel über die Art und Weise, in der diese akkumulierten topographischen Aufzeichnungen ein Ausdruck der britischen Patriotismus und Souveränität, die der wachsenden imperialen Macht zu einer Zeit waren.
Um diese Zeit Fortschritte in der Drucktechnik bedeutete, dass Großbritannien war werden die produktivsten, und wohl die technisch versierte, Hersteller von Karten und Druck in der Welt eines Faktor, der in ermöglicht die Verbreitung von topographischen Bildern eine wichtige Rolle gespielt. Aber wichtiger ist, sind diese Dugmore Zeichnungen nicht druckt, aber die ursprüngliche Arbeit von Hand und Pinsel, und als solche sind sie behalten ein Gefühl der menschlichen Gefühl, eine Erinnerung daran, dass Bilder der scheinbaren topografischen Objektivität sind unentrinnbar das Produkt der menschlichen Reaktion auf Landschaft.
Dugmore der Ausgang war nicht groß, und seine Zeichnungen sind selten, aber seine Tochter-in-law, Lady Hutton machte Erwähnung der Existenz vieler Alben mit rund 130 Fünfundsechzig Zeichnungen gefüllt sind ausführlich in Lady Hutton aufgezeichnet letzter Wille. Unter ihnen siebenundvierzig wurden von Guy Peppiatt entdeckt und zum Verkauf zu einem englischen Auktionshaus angeboten. Ein weiteres ist in Sabin Galerien Archiven abgelegt, London.
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Somerset & Wood was founded in 2015 near Bath, UK in the beautiful Cotswold market town of Bradford on Avon. Today the Gallery is run by founding owners Ayumi Ellingham and Olivia Nicholls. The Somerset & Wood project grew out of a desire to share our interests in art, history and design, and to champion the sometimes underrated field of British drawings and watercolours. We bring to the project combined professional arts backgrounds, in museums & galleries, art dealership and illustration. After completing a first class MA in English at the University of Cambridge and an MSc in History of Art with distinction at the University of Edinburgh, our Art Historian, Olivia Nicholls, worked for many years at the National Galleries of Scotland, and subsequently as an independent editor and art historian.
Our focus is affordable original British works on paper of the 19th and early 20th centuries–principally in watercolour, ink and graphite. Although our stock is antique, our gallery is exclusively online and provides an inclusive contemporary shopping experience, eschewing the often intimidating environment of more traditional galleries.
With over 2,500 artworks in stock, priced from under £50 to over £1,000, Somerset & Wood is a rich storehouse of 19th- and early 20th-century visual culture. Notable artists whose work we have handled include Louis-Philippe Boitard, Paul Sandby RA, Thomas Hearne, William Payne, Joshua Cristall POWS, Richard Westmacott RA, Nicolas-Martin Petit, Joseph Powell PNWS, David Cox OWS, William Turner of Oxford, Henry Barlow Carter, Paul Jacob Naftel RWS, Frank Brangwyn RA RWS RBA, Conrad H.R. Carelli, Winifred Sandys and Alice Des Clayes ARCA. At the same time, we recognise that value is as much about authentic personal connection as it is about the machinations of the art world. We have equal interest in researching and bringing lesser-known artists into prominence, in serving collectors of items of local historical interest and in reuniting family members with their ancestors' lost work.
We present our large volume of stock in carefully curated collections, which help provide context and tell the 'story behind the picture'. We believe in offering in-depth research and explanatory information, regardless of price. Somerset & Wood is, as a result, more than just an online shop; we are part gallery, part archive, part research project.
Come in for a browse and see for yourself. We hope you will come away with a piece of history, a piece of a story, something that feasts your eyes, pulls at your heartstrings or ignites your imagination.
Our Customers & Clients
We are delighted that our pictures resonate with art-lovers worldwide. We welcome a diverse international client base, ranging from public collections, established collectors and dealers to novice art-buyers or those simply searching for something to look good on their wall.
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Museums
Somerset & Wood also sells to museums and galleries throughout the UK. Our clients have included: The British Library; Historic England Archive; W.W. Spooner Charitable Trust in association with The Wordsworth Trust; Victoria Art Gallery Bath; Leicestershire County Council Museums; Alnwick Castle, Northumberland; Rozelle House and Maclaurin Galleries, Ayrshire.
Somerset & Wood Images
We welcome requests to reproduce Somerset & Wood images. Recently our images have been reproduced in the following publications:
- National Portrait Gallery 'Rowney guide' (updated online, 2019)
- Huw Lewis-Jones, 'Sea Journal', (Thames & Hudson, London 2019)
- Virginia Museum of Fine Arts, 'A Return to the Grand Tour, Microcosmic Jewels from the Collection of Elizabeth Locke' (Richmond VA, 2019)
- The Scotsman (2018)
- Victorian Web www.victorianweb.org (2018)
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