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Albert ludovici
N°1469
Following the profession of his father, Albert Sr., Albert Ludovici Jr. spent his life between the cities of Paris and London, painting scenes of society at leisure. His genre paintings were found to be most popular, but he also painted a succession of landscapes and interior scenes, in both watercolor and gouache as well as the more prominent oil.
Ludovici primarily exhibited his paintings in London. He participated in exhibitions from 1884 until 1923, and he joined the Society of British Artists in 1881, an organization of which his father had served as treasurer. He featured his works in the Society?s Winter Shows of 1886-87 and 1889-89, and joined their executive committee during this reign as well.
His adoption of focusing his subjects primarily on the interaction of couples, whether in public places or from the private moments within their homes and lives, give his paintings universal appeal. His works are reflective of James MacNeil Whistler, a fellow Society member whom Ludovici counted as a close friend and corresponded with about art and life.
Apr?s la profession de son p?re, Albert Sr., Albert Ludovici Jr. a pass? sa vie entre les villes de Paris et de Londres, peignant des sc?nes de la soci?t? ? loisir. Ses peintures de genre ont ?t? trouv?s ? ?tre plus populaire, mais il a peint une succession de paysages et sc?nes d'int?rieur, ? la fois en aquarelle et gouache ainsi que l'huile plus important.
Ludovici principalement expose ses peintures ? Londres. Il a particip? ? des expositions de 1884 ? 1923, et il a rejoint la Soci?t? des artistes britanniques en 1881, une organisation dont son p?re avait servi en tant que tr?sorier. Il a pr?sent? ses ?uvres dans les expositions d'hiver de la Soci?t? de 1886 ? 1887 et de 1889 ? 1889, et a rejoint son comit? ex?cutif au cours de ce r?gne ainsi.
Son adoption de concentrer ses sujets principalement sur l'interaction des couples, que ce soit dans des lieux publics ou des moments priv?s dans leurs maisons et leurs vies, donner ? ses tableaux un attrait universel. Ses ?uvres sont le reflet de James MacNeil Whistler, un autre membre dont la Soci?t? Ludovici compt? comme un ami proche et correspondait avec l'art et la vie.
In ?David Copperfield Arrives in London? the young David can bee seen standing at the back of a mail coach which has stopped in the street outside ?The Blue Boar/ Posting Establishment?. The coach has a sign at back giving the main stops along the route ? in this instance London, Ipswich and Yarmouth. The artist has captured the liveliness of the scene, including some suitably ?Dickensian? characters such as a dapper gentleman with an eye patch and an old woman getting off the coach by ladder.
?The Meeting of Pip & Estella in the Inn Yard? shows the adult Pip and Estella standing outside ?The Crosskeys/ Coffee House?. Again, a red and black mail coach form part of the background for the scene.
The Meeting of Pip & Estella in the Inn Yard (2009-0055/2)
The Meeting of Pip & Estella in the Inn Yard (2009-0055/2)
Although today the term ?Dickensian? is often used to reflect the Victorian era in general, many of Dickens? novels, including the two depicted here, are set somewhat earlier, before the development of the railways led to the end of the mail coach service. Certainly, the romance of the mail coach outlasted the service itself, as reflected in the artist?s comments about the series in his memoirs An Artists? Life in London and Paris:
I cannot help feeling sorry for the present generation, who have no idea of these good old times, and my only regret is that I did not live in the coaching days, which I have so often tried to depict in my Charles Dickens coaching series of pictures.
Both prints have a copyright notice dated 1903 and their clarity suggests that they may possibly be facsimiles of the originals. The prints are lovely items in themselves, and it is arguable that continued reproductions of the images in the early 20th Century simply reflect the enduring popular appeal of many of Dickens? well-loved characters.
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Albert ludovici chasse a courre le repas des chasseurs the hunting breakfast james macneil whistler david copperfield charles dickens gravure anglaise
Albert ludovici
N°1469
Albert Ludovici junior
(1852-1932)
Delicate gravure anglaise en couleur representant:
? La chasse a courre - le repas des chasseurs. ?
Titre: The hunting breakfast
Aquateinte ou chromolithographie en couleur sur papier teinte ivoire
Format du motif 37,5 / 58 cm
feuille support 45 / 63 cm
Publie a Londres par C E Clifford et Cie 21 Haymarket S W
1ere Edition allemande de 1903
Etat de conservation moyenne avec de fines rousseurs visible dans les marges
(1852-1932)
Following
the profession of his father, Albert Sr., Albert Ludovici Jr. spent his
life between the cities of Paris and London, painting scenes of society
at leisure. His genre paintings were found to be most popular, but he
also painted a succession of landscapes and interior scenes, in both
watercolor and gouache as well as the more prominent oil.
Ludovici primarily exhibited his paintings in London. He participated in exhibitions from 1884 until 1923, and he joined the Society of British Artists in 1881, an organization of which his father had served as treasurer. He featured his works in the Society?s Winter Shows of 1886-87 and 1889-89, and joined their executive committee during this reign as well.
His adoption of focusing his subjects primarily on the interaction of couples, whether in public places or from the private moments within their homes and lives, give his paintings universal appeal. His works are reflective of James MacNeil Whistler, a fellow Society member whom Ludovici counted as a close friend and corresponded with about art and life.
Ludovici primarily exhibited his paintings in London. He participated in exhibitions from 1884 until 1923, and he joined the Society of British Artists in 1881, an organization of which his father had served as treasurer. He featured his works in the Society?s Winter Shows of 1886-87 and 1889-89, and joined their executive committee during this reign as well.
His adoption of focusing his subjects primarily on the interaction of couples, whether in public places or from the private moments within their homes and lives, give his paintings universal appeal. His works are reflective of James MacNeil Whistler, a fellow Society member whom Ludovici counted as a close friend and corresponded with about art and life.
Delicate gravure anglaise en couleur representant:
? La chasse a courre - le repas des chasseurs. ?
Titre: The hunting breakfast
Aquateinte ou chromolithographie en couleur sur papier teinte ivoire
Format du motif 37,5 / 58 cm
feuille support 45 / 63 cm
Publie a Londres par C E Clifford et Cie 21 Haymarket S W
1ere Edition allemande de 1903
Etat de conservation moyenne avec de fines rousseurs visible dans les marges
Biographie:
Albert Ludovici, Jr. (1852-1932)Following the profession of his father, Albert Sr., Albert Ludovici Jr. spent his life between the cities of Paris and London, painting scenes of society at leisure. His genre paintings were found to be most popular, but he also painted a succession of landscapes and interior scenes, in both watercolor and gouache as well as the more prominent oil.
Ludovici primarily exhibited his paintings in London. He participated in exhibitions from 1884 until 1923, and he joined the Society of British Artists in 1881, an organization of which his father had served as treasurer. He featured his works in the Society?s Winter Shows of 1886-87 and 1889-89, and joined their executive committee during this reign as well.
His adoption of focusing his subjects primarily on the interaction of couples, whether in public places or from the private moments within their homes and lives, give his paintings universal appeal. His works are reflective of James MacNeil Whistler, a fellow Society member whom Ludovici counted as a close friend and corresponded with about art and life.
Apr?s la profession de son p?re, Albert Sr., Albert Ludovici Jr. a pass? sa vie entre les villes de Paris et de Londres, peignant des sc?nes de la soci?t? ? loisir. Ses peintures de genre ont ?t? trouv?s ? ?tre plus populaire, mais il a peint une succession de paysages et sc?nes d'int?rieur, ? la fois en aquarelle et gouache ainsi que l'huile plus important.
Ludovici principalement expose ses peintures ? Londres. Il a particip? ? des expositions de 1884 ? 1923, et il a rejoint la Soci?t? des artistes britanniques en 1881, une organisation dont son p?re avait servi en tant que tr?sorier. Il a pr?sent? ses ?uvres dans les expositions d'hiver de la Soci?t? de 1886 ? 1887 et de 1889 ? 1889, et a rejoint son comit? ex?cutif au cours de ce r?gne ainsi.
Son adoption de concentrer ses sujets principalement sur l'interaction des couples, que ce soit dans des lieux publics ou des moments priv?s dans leurs maisons et leurs vies, donner ? ses tableaux un attrait universel. Ses ?uvres sont le reflet de James MacNeil Whistler, un autre membre dont la Soci?t? Ludovici compt? comme un ami proche et correspondait avec l'art et la vie.
In ?David Copperfield Arrives in London? the young David can bee seen standing at the back of a mail coach which has stopped in the street outside ?The Blue Boar/ Posting Establishment?. The coach has a sign at back giving the main stops along the route ? in this instance London, Ipswich and Yarmouth. The artist has captured the liveliness of the scene, including some suitably ?Dickensian? characters such as a dapper gentleman with an eye patch and an old woman getting off the coach by ladder.
?The Meeting of Pip & Estella in the Inn Yard? shows the adult Pip and Estella standing outside ?The Crosskeys/ Coffee House?. Again, a red and black mail coach form part of the background for the scene.
The Meeting of Pip & Estella in the Inn Yard (2009-0055/2)
The Meeting of Pip & Estella in the Inn Yard (2009-0055/2)
Although today the term ?Dickensian? is often used to reflect the Victorian era in general, many of Dickens? novels, including the two depicted here, are set somewhat earlier, before the development of the railways led to the end of the mail coach service. Certainly, the romance of the mail coach outlasted the service itself, as reflected in the artist?s comments about the series in his memoirs An Artists? Life in London and Paris:
I cannot help feeling sorry for the present generation, who have no idea of these good old times, and my only regret is that I did not live in the coaching days, which I have so often tried to depict in my Charles Dickens coaching series of pictures.
Both prints have a copyright notice dated 1903 and their clarity suggests that they may possibly be facsimiles of the originals. The prints are lovely items in themselves, and it is arguable that continued reproductions of the images in the early 20th Century simply reflect the enduring popular appeal of many of Dickens? well-loved characters.