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Radnorshire Fine Arts Ltd
Tel01982 570768Please quote Antiques Atlas.
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Non UK callers :
+44 1982 570768
Portrait of Louis Jullien Conducting at Drury Lane
John Leech (1817-1864)
Louis Jullien at Drury Lane 1841
Pen and brown ink on paper and mounted. Signed with the artists monogram and inscribed Drury Lane 20 January. 1841 (lower left).
A theatre programme advertising M. Jullien’s Concerts, dated 1856, will accompany the sale of the drawing.
John Leech (1817-1864) was a British caricaturist and illustrator. He was best known for his work for Punch, a humorous magazine for a broad middle-class audience, combining verbal and graphic political satire with light social comedy. Leech catered to contemporary prejudices, such as anti-Americanism and antisemitism and supported acceptable social reforms. Leech's critical yet humorous cartoons on the Crimean War helped shape public attitudes toward heroism, warfare, and Britain’s role in the world.
Leech also enjoys fame as the first illustrator of Charles Dickens' 1843 novella A Christmas Carol. He was furthermore a pioneer in comics, creating the recurring character Mr. Briggs and some sequential illustrated gags.
As the son of a bandmaster, Louis Antoine Jullien (originally spelled "Julien," plus the names of 36 godfathers who were members of the Sisteron Philharmonic) gained knowledge early on of instruments and music. Yet he was 21 before he joined the composition class of Le Carpentier at the Paris Conservatoire in 1833, and later one of Jules Halévy (the composer of La Juive and, some said, Rosita, the rage-of-Paris waltz Jullien claimed as his own). The rebellious pupil refused to do any exercises, insisting instead on playing new dance pieces in his composition classes. Although he quit in 1836 without a single citation, Jullien soon after was conducting dance music at Le Jardin Truc. Quadrilles became his specialty -- the first one based on themes from Meyerbeer's Les Huguenots. Eventually, "a Repertoire of 1200 Pieces" included English, Scottish, Irish, French, American, Russian, Hungarian, Polish, Indian, and even Chinese quadrilles.
"Insolvency," a recurring plague in 22 remaining years, drove him to London in 1838. There he began a series in 1840 called Concerts d'été with an orchestra of 90 and a chorus of 24, followed by Concerts d'hiver in 1841 with a chorus of 80, and Concerts de société in 1842, which were moved to the English Opera House from Drury Lane Theater. At one of these he led the first British performance of Rossini's Stabat Mater. By this time Jullien was presenting concerts annually that ended in 1859, always at the close of the year. He played his Monster Quadrille in the beginning, but thereafter a different one each season. Some featured a military band in addition to his ever-larger orchestra. By 1843 he was conducting complete Beethoven symphonies, always with a jeweled baton and white gloves presented on a silver salver. He added a velvet-covered throne to his podium, onto which he sank purportedly exhausted after each performance.
Jullien affected an open coat, fancily embroidered white shirts, lace wristbands folded back over his coat sleeves, a large mane of black hair, and a mustache -- all of which added glamour to the excited delight of audiences. He toured Great Britain tirelessly every season, even opening a shop for the sale of his music in Regent Street. However, in 1847 he leased Drury Lane for operas to be performed in English, hiring Berlioz as conductor and Sir Henry Bishop ("Home, Sweet Home") as rehearsal "inspector-superintendent." This came a-cropper, and Jullien was bankrupt a year later. In 1849 he announced a "monster musical concert and congress" with 400 players, three choruses, and three military bands, but it too was a financial disaster. He wrote an opera in 1852, produced it lavishly at his own expense, but was ruined by a run of only five performances. Time then for America, where he arrived in June 1853 for a month of concerts in NY's Castle Garden, complete with a new American Quadrille (and Theodore Thomas in his orchestra). After touring, which included new American compositions, he ended a year's stay with a NY Crystal Palace concert produced by his contemporary (and soulmate), P.T. Barnum. It culminated in Night, or the Fireman's Quadrille, including the arrival of three companies to extinguish a real fire with real water. Jullien returned to London enriched, but lost his entire collection of manuscripts in the Covent Garden fire of 1856. He conducted a season of oratorios, then a provincial tour with reduced forces before returning to France in 1859. Imprisoned for debt, he was released later on, but in 1860 died impoverished in an insane asylum.
PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
SellerRadnorshire Fine Arts Ltd
View all stock from
Radnorshire Fine Arts Ltd
Private dealer
By appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
Louis Jullien at Drury Lane 1841
Pen and brown ink on paper and mounted. Signed with the artists monogram and inscribed Drury Lane 20 January. 1841 (lower left).
A theatre programme advertising M. Jullien’s Concerts, dated 1856, will accompany the sale of the drawing.
John Leech (1817-1864) was a British caricaturist and illustrator. He was best known for his work for Punch, a humorous magazine for a broad middle-class audience, combining verbal and graphic political satire with light social comedy. Leech catered to contemporary prejudices, such as anti-Americanism and antisemitism and supported acceptable social reforms. Leech's critical yet humorous cartoons on the Crimean War helped shape public attitudes toward heroism, warfare, and Britain’s role in the world.
Leech also enjoys fame as the first illustrator of Charles Dickens' 1843 novella A Christmas Carol. He was furthermore a pioneer in comics, creating the recurring character Mr. Briggs and some sequential illustrated gags.
As the son of a bandmaster, Louis Antoine Jullien (originally spelled "Julien," plus the names of 36 godfathers who were members of the Sisteron Philharmonic) gained knowledge early on of instruments and music. Yet he was 21 before he joined the composition class of Le Carpentier at the Paris Conservatoire in 1833, and later one of Jules Halévy (the composer of La Juive and, some said, Rosita, the rage-of-Paris waltz Jullien claimed as his own). The rebellious pupil refused to do any exercises, insisting instead on playing new dance pieces in his composition classes. Although he quit in 1836 without a single citation, Jullien soon after was conducting dance music at Le Jardin Truc. Quadrilles became his specialty -- the first one based on themes from Meyerbeer's Les Huguenots. Eventually, "a Repertoire of 1200 Pieces" included English, Scottish, Irish, French, American, Russian, Hungarian, Polish, Indian, and even Chinese quadrilles.
"Insolvency," a recurring plague in 22 remaining years, drove him to London in 1838. There he began a series in 1840 called Concerts d'été with an orchestra of 90 and a chorus of 24, followed by Concerts d'hiver in 1841 with a chorus of 80, and Concerts de société in 1842, which were moved to the English Opera House from Drury Lane Theater. At one of these he led the first British performance of Rossini's Stabat Mater. By this time Jullien was presenting concerts annually that ended in 1859, always at the close of the year. He played his Monster Quadrille in the beginning, but thereafter a different one each season. Some featured a military band in addition to his ever-larger orchestra. By 1843 he was conducting complete Beethoven symphonies, always with a jeweled baton and white gloves presented on a silver salver. He added a velvet-covered throne to his podium, onto which he sank purportedly exhausted after each performance.
Jullien affected an open coat, fancily embroidered white shirts, lace wristbands folded back over his coat sleeves, a large mane of black hair, and a mustache -- all of which added glamour to the excited delight of audiences. He toured Great Britain tirelessly every season, even opening a shop for the sale of his music in Regent Street. However, in 1847 he leased Drury Lane for operas to be performed in English, hiring Berlioz as conductor and Sir Henry Bishop ("Home, Sweet Home") as rehearsal "inspector-superintendent." This came a-cropper, and Jullien was bankrupt a year later. In 1849 he announced a "monster musical concert and congress" with 400 players, three choruses, and three military bands, but it too was a financial disaster. He wrote an opera in 1852, produced it lavishly at his own expense, but was ruined by a run of only five performances. Time then for America, where he arrived in June 1853 for a month of concerts in NY's Castle Garden, complete with a new American Quadrille (and Theodore Thomas in his orchestra). After touring, which included new American compositions, he ended a year's stay with a NY Crystal Palace concert produced by his contemporary (and soulmate), P.T. Barnum. It culminated in Night, or the Fireman's Quadrille, including the arrival of three companies to extinguish a real fire with real water. Jullien returned to London enriched, but lost his entire collection of manuscripts in the Covent Garden fire of 1856. He conducted a season of oratorios, then a provincial tour with reduced forces before returning to France in 1859. Imprisoned for debt, he was released later on, but in 1860 died impoverished in an insane asylum.
PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
Price The price has been listed in British Pounds.
Conversion rates as of 9/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
DimensionsSheet: 9 1/8 x 7 1/4 in. (23.1 x 18.5 cm.)
Mount: 15 x 13 3/8 in. (38 x 34 cm.)
Program: 13 3/8 x 8 3/8 in. (34 x 21.5 cm.)
Date 1841
Early Victorian Antiques Material Paper
Origin English
Artist John Leech
Condition Good, this picture has had a mild clean and is displayed in a new mount. All work has been carried out by an accredited paper conservator.
Item code as176a803
Status Sold
£0 
$0.00 
€0.00 
$
€
Conversion rates as of 9/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
Shipping information
All our prices include FREE packing and delivery within the UK.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
Terms and conditions
Returns and Complaints
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
View all stock from
Radnorshire Fine Arts Ltd
Private dealerBy appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
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