Gladwell Patterson Summer Brochure 2013 by Graeme Leighfield

GL ADWELL & PATTERSON

Price Codes A: < £2,000 B: £2,000 – £5,000 C: £5,000 - £10,000 D: £10,000 - £20,000 E: £20,000 - £40,000 F: > £40,000

Summer Collection Saturday 7 September â&#x20AC;&#x201C; Sunday 15 September 2013 In this ever changing world, few things remain constant, and two years ago when we produced our last catalogue, little did we anticipate that we would now have a wonderful new home. As strong believers in fate, we are sure that this move was meant to be, and as such we have taken it in our stride. Our elegant new gallery provides a beautiful setting in which to display our exciting Summer collection, the quality of which we trust you will agree, we have not only maintained but improved. Having settled comfortably into Beauchamp Place we have been delighted with our first few months here. We had a very successful launch in May when so many of you, our loyal clients, came to visit us and for which we deeply thank you. This energetic location is truly an international destination and we have made many new clients. The alluring ambience of the street and its presence in the heart of Knightsbridge attracts an eclectic and discerning clientele who, with the friendly local businesses, have welcomed us with open arms. What we have further witnessed in these troubled economic times is a marked shift in peopleâ&#x20AC;&#x2122;s acquisitions towards more stable assets such as art. With this digital era firmly upon us, there is a distinct yearning for the tangible, real quality and pleasure that one can find in a fine painting. Our ethos remains the same as it did in 1752, we only buy those pictures whose provenance and pedigree is of the highest level. So, dear friends, we invite you to come and enjoy our exciting new collection and to experience the charm of Beauchamp Place.

JOSEPH MALLORD WILLIAM TURNER (British, 1775-1851) ‘The Field of Waterloo seen from Hougoumont’ Turner is generally regarded as the best-loved of the English Romantic artists, being popularly referred to as ‘the painter of light’, due to his characteristic use of brilliant colours as the main constituent of his landscapes and seascapes. From a young age he drew inspiration from the works of 17th-century Dutch artists such as Willem van der Velde, and the Italianate landscape painters, Claude and Richard Wilson. He worked in watercolours, oils and engravings and during his lifetime he produced more than 19,000 pieces. His first watercolours were exhibited at the Royal Academy in 1790, followed by his earliest oils in 1796. However by the early 1830s, Turner’s oil paintings were attracting less interest in the market and he therefore decided to supplement his income through the production of engravings based on his watercolours. ‘The Field of Waterloo Seen from Hougoumont’, one of three works that Turner painted on the subject of the famous battle, was used as an illustration for John Murray’s 1832-33 edition of Byron’s Life and Works, and has been described by Mark Griffith Jones, deputy director of Sotheby’s British Watercolours and Drawings, as “one of the most dramatic, best preserved and largest of all of Turner’s vignettes” Turner visited the field of battle at Waterloo in 1817, two years after Napolean’s defeat by the British and Prussian armies under their generals, Wellington and Blucher. His reconnaissance inspired him to create this watercolour displaying the interplay of the three great turbulences of the epic events of 18 June 1815 - the human and mechanical aftermath of the turbulent battle; the ongoing turbulence of a raging fire destroying the Hougoumont farmstead and all this set beneath the eternal turbulence of the surrounding cloudscape. Turner thus captures with characteristic verve, as no one else, the visceral and furious realities of bloody battle beneath the quiescent canopy of an ominous evening sky at day’s end. Ruskin, a great champion of Turner’s work from 1840 onwards, said that Turner’s only peers were William Shakespeare and Francis Bacon and that the painter was the most original of the three. “By Shakespeare, humanity was unsealed to you; by Bacon the principles of nature, and by Turner, her aspect ... But of all the three, though not the greatest, Turner was the most unprecedented in his work. Bacon did what Aristotle had attempted; Shakespeare did perfectly what Aeschylus did partially; but none before Turner had lifted the veil from the face of nature” - that is, Ruskin argued, Turner portrayed nature more accurately, and with more freedom from mere pictorial convention, than any other painter. In Ruskin’s opinion “if you ... have no feeling for the glorious passages of mingled earth and heaven which Turner calls up before you into breathing tangible being, there is indeed no hope for your apathy, art will never touch you, nor nature inform.” One should not dare to say that Ruskin’s view is wrong, but instead contemplate the picture and enjoy a rare chance to encounter the breadth of sophistication of taste that is found in this distinctive masterpiece.

Ref : Bockemühl, Michael (2006). J.M.W. Turner, 1775-1851: the world of light and colour ([2nd ed.] ed.). Köln: Taschen. ISBN 3-8228-6325-4.

Joseph Mallord William Turner • The Field of Waterloo seen from Hougoumont British, (1775-1851) • Watercolour, 7” x 10” •

Price Code F

David Shepherd • Heat of the Day British, (born 1931) • Oil on Canvas, 24” x 36” •

Price Code F

DAVID SHEPHERD (British, born 1931) I have had the pleasure of knowing David Shepherd for over 30 years. He is a remarkable man and a passionate artist and conservationist. David’s paintings clearly illustrate his respect and admiration for the wildlife to which he was drawn at a young age. Unable to become a game warden in Kenya as there were no vacancies, he was steered towards art school by his father. David’s luck changed after becoming a student of the marine artist Robin Goodwin. He once joked he would be driving a number 96 bus if it weren’t for him and after spending three years with Goodwin he then began painting aviation pictures and street scenes of London. David secured a permit for access to Heathrow with a view to painting commissions for the major airlines and the R.A.F. In the 1960’s the R.A.F. flew him to Kenya as their guest and on arrival told him they didn’t want pictures of aircraft but something a bit more local like elephants. Thus was born one of his three passions, elephants, however Lancaster bombers, and his 140-ton steam engine The Black Prince are also up there on the list. David Shepherd has gone on to be regarded as one of the world’s leading wildlife artists. The debt he feels he owes to the wildlife he paints has led him to also become a leading international conservationist, raising funds through The David Shepherd Wildlife Foundation (which has raised more than £4.2million towards helping to save the critically endangered mammals in the wild.) David Shepherd’s paintings have energy and strength and command the attention and his close observation of the wildlife he cherishes, portrayed onto the canvas results in a dramatic and sincere work of art that endures the test of time. The BBC produced a documentary on his life called “The Man who loves Giants”, and David has also found the time to write six books both about the animals he paints and his love of old steam engines. We are very fortunate to have been involved with this inspiring man over the last 30 years.

Karl Martens • Golden Eagle Swedish, Contemporary • Watercolour, 39” x 39” •

Price Code C

KARL MARTENS (Swedish, Contemporary) Nature studies, with a special love for birds, have been Karl’s main interest since childhood. The background for Karl’s style has its roots in his deep passion for the forms of meditation found in Zen Buddhism. Getting to know one’s self through attention to thoughts and emotions, and to accept the fact that we will never be fully in control of our lives are some of the thoughts he has found important. Karl paint his birds from memory, using watercolor and charcoal on hand-made paper.

Karl Martens • Pheasant Swedish, Contemporary • Watercolour, 30” x 22” •

Price Code B

Karl Martens • Rock Ptarmigan Swedish, Contemporary • Watercolour, 28” x 20” •

Karl Martens • Eagle Owl Price Code B

Swedish, Contemporary • Watercolour, 28” x 20” •

Price Code B

Karl Martens • Jay Swedish, Contemporary • Watercolour, 20” x 28” •

Price Code B

Nick Bibby Tawny Owl British, Contemporary Bronze (Edition of 12), 15â&#x20AC;? x 8â&#x20AC;? Price Code C

NICK BIBBY (British, Contemporary) Nick Bibby is acclaimed as one of the leading wildlife sculptors of his generation. Born in County Durham in 1960, Nick has always been fascinated by the natural world. His talent was evident at an early age and he began sculpting commercially at sixteen. By nineteen he was a director of a leading miniature figurines company. Nick has a global following including major collectors, international governments and famous artists. He now lives and sculpts in Devon, a place he loves, and which provides constant inspiration. 12

Nick Bibby • Black Rhino British, Contemporary • Bronze (Edition of 12), 15” x 17” •

Price Code C

EDWARD WAITES (British, Contemporary) Born in 1988, Edward is largely self taught. His sculptures are strong and energetic. Taking his inspiration from the more powerful of nature’s creatures, Edward’s bronzes exude strength and spirit whilst being true to anatomy and form. His knowledge of his material means he is confident and prefers leaving his sculptors marks visible on the surface which add to the liveliness of his work.

Edward Waites • Arabian White British, Contemporary • Bronze (Edition of 12), 9” x 12” x 5” •

Price Code B

Edward Waites • African Buffalo Bull British, Contemporary • Bronze (Edition of 12), 16” x 8” x 6” •

Price Code B

COLIN BURNS (British, born 1944) Colinâ&#x20AC;&#x2122;s childhood had the most profound effect on the art he paints. As a young boy living in a busy seaside resort he often painted the sunset and local landscapes. From the age of 9 he started winning art prizes at school. When he was 12 he received the greatest culture shock of his life when his parents whisked him off to live in the middle of the country in a marshland farmhouse. The bright lights and funfairs of town life were out of reach; their place was taken by bleak but beautiful surroundings and the local wildlife. Colin claims that this change of life style was the greatest artistic influence he has experienced. He became more and more involved in painting and began observing the wonders of nature. In 1976 he took some oil paintings to a London gallery which mounted his first exhibition in 1977. From 1978 Colin turned solely to painting with increasing success and fluency in both oil and water-colour. He concentrates on the East Anglian countryside and the birds and wildlife that inhabit it. However, he is equally adept at capturing the highlands of Scotland and many other beautiful unspoilt areas of British Isles.

Colin Burns • Stags in the Low Ground, Tay Forest British, (born 1944) • Oil on Canvas, 24” x 36” •

Price Code E

Maurice Martin • Neige, La Rivière French, (1894-1978) • Oil on Canvas, 25” x 21” •

Price Code B

Georges Charles Robin • Le Manteau d’hiver French, (1903-2003) • Oil on Canvas, 21” x 18” •

Price Code C

Georges Charles Robin Sauveterre-de-Béarn French, (1903-2003) Oil on Canvas, 15” x 18” Price Code C

Georges Charles Robin Contre-jour en Dordogne vers Cêreme French, (1903-2003) Oil on Canvas, 15” x 21” Price Code C

GEORGES CHARLES ROBIN (French, 1903-2003) Born in Paris in 1903, Robin studied at L’Ecole des Beaux Arts and was a student of the Master Paul Michel Dupuy (whose paintings are to be found in the Louvre). He was an officer of the Academie des Beaux Arts, director of the Institute of “Instruction Publique”, and a former Professor of the Technical High School. Robin achieved virtually every major award in French painting for his work. Amongst these the Hors Concors stands out. Gladwells began dealing with Robin after the 2nd World War and the company has both a superb library and an intimate knowledge of his work.

Georges Charles Robin Lavoir à Tiffauges French, (1903-2003) Oil on Canvas, 28” x 23” Price Code D

Francois de Montholon • Nemours, Lavoir dans la Vieille French, (1856-1940) • Oil on Canvas, 21.5” x 29” •

Price Code C

MAURICE MARTIN (French, 1894-1978) Maurice Martin’s style of ‘en plein air’ painting developed from his association with Henry Moret and his school of impressionist painters who were profoundly influenced by the innovative creativity of the ‘Four Musketeers of Impressionism’ - Monet, Renoir, Pissarro and Sisley. Combined with his love of nature Martin used his ‘light filled palette’ to capture the immediacy of his scene-of-choice, free of the disciplines of the studio and the practice of reflective composition that separated traditional studio artists from the réalité of their selected view.

Maurice Martin • Pêcheurs par le Loing French, (1894-1978) • Oil on Canvas, 20” x 24” •

Price Code C

Alexandre Louis Jacob • Coup de Soleil avant l’Orage French, (1876-1972) • Oil on Canvas, 18” x 25.5” • Price Code D

Alexandre Louis Jacob Au Fond de l’étang

Alexandre Louis Jacob Soleil d’automne, Val de Marne

Alexandre Louis Jacob Escalier de Jardin à L’automne

French, (1876-1972) Oil on Canvas, 10” x 9.5” Price Code B

French, (1876-1972) Oil on Canvas, 16” x 13” Price Code B

ALEXANDRE LOUIS JABOB (French, 1876-1972) Alexandre Jacob was a major force in early 20th century French painting and was predominantly a landscape painter. His tranquil and subtle landscapes garnered the awards and accolades that they so richly deserved throughout his life and are now universally enjoyed both in many museums around France and, for the lucky few, in private collections around the World. The following museums in particular hold some of his superior works; Troyes, St. Etienne, Fougeres, Paris, St. Nazair and St. Quentin. The artist died in 1972, and is considered to be one of the finest artists of his generation.

Martin Taylor • Autumnal Frost British, Contemporary • Oil on Canvas, 10” x 8” •

Martin Taylor • Light in the Woods Price Code A

British, Contemporary • Oil on Canvas, 8” x 8” •

Price Code A

MARTIN TAYLOR (British, Contemporary) Martin’s work shows a true reflection of his love of nature. To achieve his highly detailed, naturalistic style Martin totally immerses himself in his subject, painting what he sees in front of him, outside even in midwinter. He works from the same spot for weeks at a time, which explains the intense focus of his paintings.

Martin Taylor • Turn of the River British, Contemporary • Oil on Canvas, 10” x 8” •

Price Code A

Wycliffe Egginton • Sligachan, Skye British, (1875-1951) • Watercolour, 30” x 47” •

Price Code C

WYCLIFFE EGGINTON (British, 1875-1951) This beautiful watercolour depicting Sligachan on the Isle of Sky demonstrates all the hallmarks of Wycliffe Eggintonâ&#x20AC;&#x2122;s style and prowess as a highly accomplished artist. Collected widely by museums and private individuals, he exhibited frequently at the Royal Academy and the Royal Institute. The dramatic skyline of this picture, with the mountain shrouded with soft misty washes, imbues the work with real atmosphere, and the stunning vista is enhanced by the immediacy of the foreground with the brilliantly captured jagged rock faces and the water tumbling towards the viewer. Wycliffeâ&#x20AC;&#x2122;s ability to accurately create the tones of the heathers in pure watercolour again comes together to give drama and poise to the surrounding landscape.

Harry Sutton Palmer The Wye Valley British, (1854–1933) Watercolour, 15.5” x 24” Price Code B

Harry Sutton Palmer The River Thames at Cliveden British, (1854–1933) Watercolour, 14” x 21” Price Code B

HARRY SUTTON PALMER (British, 1854-1933) Harold Sutton Palmer was born in Plymouth in 1854. He showed such ability for drawing at a very early age that there was never any doubt as to what his future occupation would be. For over 80 years we have placed the best examples of this superb artist’s work with our clients. His masterful watercolours having universal appeal. Palmer began his career by attending the South Kensington Schools for two years, during which time he won a gold medal. Upon leaving the school he devoted his skills almost entirely to painting still life studies, but later changed to painting landscapes in watercolours, a genre to which he remained faithful for the rest of his life. The technicality of his work has high merit and his management of the subtleties of colour and tone were an education for generations of artists to come. Whether his subjects were wide panoramic highland vistas or little brooks and streams, or corners of villages, they all carried the stamp of a complete artist totally confident in his ability. Between 1880 and 1920 Palmer held many one-man shows in England and one in New York. He was also an illustrator for many books and his work is represented in the Victoria and Albert Museum. He died in 1933 and it is my considered opinion that no one living can produce watercolours of the quality of Sutton Palmer.

Harry Sutton Palmer Evening on the Moor British, (1854–1933) Watercolour, 38” x 26” Price Code C

AUGUSTE BOUVARD (French, 1875-1956) Bouvard was born at St. Etienne in France in 1875. His early artistic education was undertaken at the Ecole des Beaux-Arts in Paris, where he spent three years under a scholarship. His birth name was Eloi Noel Beraud although he signed his paintings Bouvard, Marc Aldine and Pelletier, amongst other pseudonyms but it is by Bouvard that he is best known. Study trips followed throughout Europe, where he began to paint the landscapes of Southern Europe and the Mediterranean coastline. Most of his output went through a dealer in Paris who recommended that he consider Venice as a subject. From that point his career never looked back. Gladwell’s held the first one-man exhibition of his work in Britain in 1928, from which the late Queen Mary purchased two examples of his work. Mr. Fuller continued to acquire paintings from this fine artist up until Bouvard died in 1956. Whilst Bouvard’s subject matter is similar to Canaletto and Guardi, he differs from these great artists by his use of a free impressionist technique, with the introduction of more colour and warmth. Examples of this fine French artist’s work can be found in private collections throughout the world.

Auguste Bouvard • The Grocery Shop, Venice

Auguste Bouvard (signed Marc Aldine) • The Magic Hour, Venice

French, (1882-1956) • Oil on Canvas, 10” x 13” •

French, (1882-1956) • Oil on Canvas, 7.5” x 9.5” •

Price Code C

Auguste Bouvard (signed Marc Aldine) • Late Afternoon, Venice French, (1882-1956) • Oil on Canvas, 25.5” x 36” •

Price Code F

Eugene Galien-Laloue • Théâtre Sarah-Bernhardt French, (1854-1941) • Watercolour and Gouache, 7” x 12” •

Price Code F

EDOUARD LEON CORTES (French, 1882-1969) Edouard Cortès discovered his passion for painting from studying under his father Antonio, an artist in the Spanish Court. His first exhibition in 1899 drew much acclaim for his work from critics in Paris where he subsequently decided to settle. Over a period of some 60 years he concentrated on capturing the spirit and beauty of the City of Light in a wide variety of weathers and night settings resulting in him becoming known as ‘Le Poete Parisien de la Peinture’ because of his diverse selection of cityscapes. This painting of Port St. Denis powerfully evokes the ambience of one of Paris’s major avenues in the depth of winter with the carriages cutting through the slush and travellers scurrying beneath the gas lamps.

Edouard Leon Cortes • Porte St.-Denis, Paris French, (1882-1969) • Oil on Canvas, 13” x 18” •

Price Code F

Peter van Breda • Morning Light, Chelsea Embankment

Peter van Breda • Primrose Hill

British, Contemporary • Oil on Canvas, 12” x 36” •

Price Code B

PETER VAN BREDA (British, Contemporary) Peter was born in Zimbabwe in 1957 and now lives in England. Preferring to work directly from the subject, en plein-air, Peter is able to express his particular passion for light and atmosphere. The ever-changing light creates a sense of urgency within the painting, the vitality of which he tries to capture before the light changes. Peter has travelled widely throughout Europe, painting in many well known cities. The great diversity in his subject matter is a result of constantly assessing the changes of light and atmosphere within his surroundings. His work is widely collected and hangs in many private and corporate collections.

Peter van Breda • Morning Light, Grand Canal, Venice British, Contemporary • Oil on Canvas, 32” x 40” •

Price Code B

JONATHAN PIKE (British, Comtemporary) Jonathan studied at the Central School of Art and Design and at Falmouth School of Art where he was taught by Francis Hewlett and Robert Organ. After graduating in 1971 he spent several years travelling around Europe before settling in London. It was here that the urban landscape became the dominant subject of his painting. Primarily a watercolourist, Jonathan also paints in gouache and oils, and is probably the finest architectural painter of his generation. He specializes in views of cities including Rome, Florence, London and Havana, and his exquisite paintings of Venice have attracted a firm following amongst collectors worldwide. He began painting Venice in 1989 and, captivated by the architecture, he has returned on many occasions, gaining a reputation for his instantly recognizable watercolours, which capture the atmosphere and light of this unique city. In England he has shown at the Royal Academy Summer Exhibition, the Whitechapel Open, the Discerning Eye, Gavin Graham Gallery, Richard Hagen and Julian Simon Fine Art. Jonathan was recently awarded the First Prize in the Royal Watercolour Society/Sunday Times Watercolour Competition.

Jonathan Pike • Palazzo Barbaro British, Contemporary • Oil on Canvas, 25” x 19” •

Price Code C

Robert at work in the studio

The composition comes together A Portrait of Madame Chailloux

ROBERT CHAILLOUX (French, 1913 - 2006) Robert Chailloux was a remarkable artist and a good friend. I visited Chailloux in Paris and then subsequently at his home in the countryside for over 40 years. During that time it was an honour to know such a fascinating and talented character. Born in Pairs in 1913, Monsieur Chailloux’s artistic talent was cultivated in the Ecole Speciale de Dessin d’ Boulevard Belleville, Paris, then Ecole des Arts Decoratifs after he showed talent for drawing at school. Chailloux always wanted to be an artist and quickly went on to setup his own studio. He delighted in collecting French provincial pottery and his studio was filled with the finest examples. This provided limitless opportunities for their use in his compositions. He labeled each vase or pot meticulously and stored them all in an extremely large cabinet beside his easel. The charmingly rustic fruits captured within his paintings and his beautiful floral subjects were often taken directly from his gardens or carefully selected from the local market. This fine artist always captured the essence of nature and followed the seasons diligently. The resultant works of art, I personally have enjoyed and shared with many of my clients over the years. One delights in his fresh compositions which display a poetic softness, blending muted colours with bursts of intense pigment. He strived to create truth to nature and artistic perfection on his canvases, leaving a lasting legacy we all continue to enjoy. In 1940, Chailloux became a member of the Salon des Artistes Francais, and began exhibiting regularly. The recognition his work received, allowed him the opportunity to enter the Salon de la Nationale exposition of 1943. In 1945, he exhibited at the Salon de Independence and became a member of the Salon de la Marine. Here he was invited to show his collection of nautical still life’s and marine compositions from the early part of his career. I had great pleasure over the years of enjoying Chailloux’s collection of ship models each one lovingly handmade. Chailloux took three to four years to complete each one and his attention to detail was painstakingly illustrated one day, when he advised me that he was having a problem drilling a hole in a pin to attach a stern rail.

Robert Chailloux • Sweet Chestnuts French, (1913-2006) • Oil on Canvas, 17” x 21” •

Price Code C

He painted some wonderful pastel and gouache en plein air studies of numerous French fishing ports in his early life, but he would never part with them and enjoyed the memories they bought back. His studio was a Aladdin’s cave of treasures, priceless for the passion and history of each object - from a piece of lace to a doll made by his wife, they were all captured on canvas at one point or another in his pictures. He gave to my daughter a joyous painting of one of these dolls which now hangs in her nursery. Every time we both look at it we smile. Chailloux’s was truly one of the nicest people I have had the great pleasure of knowing. Every visit to his studio was a treasured encounter. As a family he has touched all three generations of the Fullers and we all consider ourselves very fortunate to have known him and been custodians of his work over such a long period of time. I will never forget his hidden stash of whisky pulled up from a hole in the lawn which we shared on my visits. He exhibited for many years at all the principle Salons in France, including the Salon National des Beaux Arts, the Salon de la Marine and the Salon d’Automne. His work has also been exhibited in Great Britain, Switzerland, Belgium, America and Canada, as well as in Moscow in 1975 at the Museum Pouchkine, and then in Leningrad at the Hermitage Museum.

Robert Chailloux • A Rural Feast French, (1913-2006) • Oil on Canvas, 15” x 18” •

Robert Chailloux • From the Garden Price Code C

French, (1913-2006) • Oil on Canvas, 10” x 13” •

Price Code B

Robert Chailloux Apples and Walnuts French, (1913-2006) Oil on Canvas, 29” x 23.5” Price Code D

Chailloux’s paintings have been acquired by the City of Paris, and the Museum of the Ile de France. He was a member of the “Societe de la Salon de l’Art Libre”, the “Salon des Artistes Francais”, and the “Salon d’Hiver”. He was also elected to be an Officer of the “Academie of Arts, Sciences et Lettres.” His biography can be found in all of the renowned Art dictionaries of the World including Benezit, Kunster-lexicon and Who’s Who. Chailloux sadly passed away at the end of 2006, and today his paintings can be found in private collections all over the World. Chailloux’s many awards include : The Silver Medal at the Salon des Artistes Francais- 1967, The Gold and Silver Medals at the Salon de l’Art Libre, The Gold and Silver Medals at the Salon Violet, The Prix du Comite at the Salon d’Hiver, The Prix Vuillaume at the Salon de Bois-Colombes.

Robert Chailloux • Simple Pleasures French, (1913-2006) • Oil on Canvas, 10” x 13” •

Robert Chailloux • The Basket of Strawberries Price Code B

French, (1913-2006) • Oil on Canvas, 18” x 21” •

Price Code C

Robert Chailloux • Au Coin de la Cuisine French, (1913-2006) • Oil on Canvas, 18” x 21” •

Price Code C

CHARLES PERRON (French, 1893-1958) At Gladwells over the last 60 years we have been quietly championing the work by the brilliant French artist Charles Perron. Highly regarded and decorated in his lifetime, his achievements and the respect he garnered from his peers set him aside as a truly great artist. He has however yet to receive the international acclaim which he deserves. My father and myself have been privileged to know the Perron family well, and we continue to visit his delightful daughter Madame Perron. Perron’s studio was an ethereal place full of light and beauty, and one of his many strengths was that he managed to translate this wonderful light and the resultant shadows onto his canvases. His still lives have wonderful pure lines much like a Picasso drawing, and compositionally they recall to the mind similarities to the style and spirit of Chardin. Whether the subject be the cottages of Brittany and their interiors with reflected light, still life’s of great delicacy or the nude female form, every painting shows his complete mastery and control of shape and hue.

Charles Perron • The Cottage Doorway

Charles Perron • La Niche

French, (1893-1958) • Oil on Canvas, 16” x 13” •

French, (1893-1958) • Oil on Panel, 10” x 8” •

Price Code C

Price Code B

Charles Perron • Chardon Bleu French, (1893-1958) • Oil on Canvas, 19” x 25” •

Price Code E

Stewart Lees • Peaches and a Stone Bottle British, Contemporary • Oil on Panel, 20” x 28” •

Price Code C

STEWART LEES (British, Contemporary) Stewart was born in Hertfordshire in 1954 and grew up on the South Coast and in London. In the early nineties, Stewart took the decision move his family to deepest, rural France to be a painter and soon established a reputation locally as a landscape painter. “As I observe a still life grouping with ever deepening intensity, the objects, and the space they occupy, become a landscape with depth and atmosphere revealed through the play of light across forms, all firmly rooted within a plane. And by adhering to strict accuracy in drawing and modeling, and by my pursuit of meticulous fidelity to form, texture and colour, I come up against all the challenges of a portrait painter, concerned with surface but trying all the time to say something deeper about the subject before me, to turn the familiar into something extraordinary.”

Stewart Lees • Garlic and Shallot British, Contemporary • Oil on Panel, 5” x 7” •

Stewart Lees • Sage and Garlic Price Code A

British, Contemporary • Oil on Panel, 20” x 16” •

Price Code B

PIETER WAGEMANS (Belgian, Contemporary) Pieter Wagemans was born in 1948 in Merksem, close to Antwerp in Belgium. Since his youth, Pieter has always been able to express himself spontaneously through the artistic gift that he probably inherited from his father. Even from his early years it seemed likely that he would develop this gift further and at the age of 15 he started taking lessons at the Royal Academy of Fine Arts in Antwerp. Looking for symbolic value of a composition he builds a moving story. The ‘vanitas’ motif is a major source of inspiration. Reflecting on the transitory nature of life, beauty often is incorporated in the form of a flower. The fine painting of flowers demands considerable discipline, because the passing of time is an important challenge. A flower is always changing. To capture the moment, Pieter paints each flower in turn, ‘alla prima’ until the painting is finished. Sometimes this can take a whole day, others only a few hours. Often the flower compositions never existed in reality because the flowers were painted one by one over several weeks. Painting demands time and patience. “Every item has its own characteristics. You can see a thousand details, but you cannot paint everything you see. The art of omitting is very important. A successful painting cannot be approached in a purely photographic way. That is why a painting can go beyond a photograph.”

Pieter Wagemans • Garden Roses Belgian, Contemporary • Oil on Panel, 16” x 16” •

Pieter Wagemans • Prestige Price Code C

Belgian, Contemporary • Oil on Panel, 16” x 12” •

Price Code B

Pieter Wagemans • Syringa and Roses Belgian, Contemporary • Oil on Panel, 12” x 12” •

Price Code B

DEREK G. M. GARDNER (British, 1914-2007) Derek Gardner was the leading British maritime painter of the 20th century. He was a self-taught artist who became a master of his art by virtue of his ability to convey the colour, the luminosity and all the drama of the wind and sea. He loved painting the fast sleek square rigged ships of the 19th century. These vessels he captured in oil with all the elements of wind, sea and speed as they plied their trade across the oceans. However Derek’s greatest passion was in portraying the naval ships of the eighteenth and early nineteenth centuries. Napoleonic frigates and their battle scenes were portrayed with great accuracy and an attention to detail that was the result of many hours of painstaking research and preparation. Derek explained that this interest started at a relatively young age when he read the “Life of Nelson”. He loved painting the ships and battles from the Nelson era; so much so that at the age of 91 his final exhibition was devoted almost entirely to Nelson’s ships. His life was dedicated to the sea, his father was the Chief Engineer of the Clyde Trust and the Port of Glasgow and Derek joined the Royal Navy Volunteer Reserve as a midshipman in 1934. During the war he served on armed trawlers and destroyers in the North Atlantic on the Russian convoys and in the Mediterranean. He left in 1948 with the rank of Commander. In 1988 the Royal Society of Marine Artists elected him as their honorary vice-president for life. The crowning moment of his career came in 2005, the bi-centenary year of the Battle of Trafalgar, when an exhibition was curated in London of his work containing a painting of every ship in which Nelson served.

Derek G.M. Gardner • H.M.S. Southampton, 32 Guns, built 1757 British, (1914-2007) • Oil on Canvas, 16” x 20” •

Price Code E

MONTAGUE DAWSON (British, 1895-1973) Without a shadow of doubt the name of Montague Dawson is the most famous name in the world of marine painting over the last 60 years. Very much an individualist both for his forceful interpretation and vigorous techniques often suggesting the heroics of the sailors, Dawson’s influence on his contemporaries has been proven by the number of his imitators. Most of his best work captured the famous races of the tea clippers from China and the wool trade from Australia. However he was totally at home in all mediums and with all marine subjects, as illustrated by these five delightful ink studies covering 430 years of the maritime world.

Montague Dawson • Decks Awash British, (1895–1973) • Pen and Ink Drawing, 10” x 12” •

Price Code A

Montague Dawson • Drake’s Golden Hind 1577 British, (1895–1973) • Pen and Ink Drawing, 8” x 12” •

Price Code A

Montague Dawson The Fight between Chesapeake and Shannon off Boston, May 1813 British, (1895–1973) • Pen and Ink Drawing, 8” x 12” •

Price Code A

Montague Dawson Summer Days off the Needles British, (1895–1973) Pen and Ink Drawing, 8” x 12” Price Code A

Montague Dawson Tall Ships - The Race between the “Sobraon” and the “Tsar of Russia” from London to Melbourne in 1884, won by the Tsar of Russia in 75 days versus 80 days British, (1895–1973) Pen and Ink Drawing, 8” x 12” Price Code A

Ronny Moortgat • The Mariette off Cowes Belgian, Contemporary • Oil on Canvas, 40” x 60” • Price Code D

RONNY MOORTGAT (Belgian, Contemporary) Ronny was born in 1951 in the village of Niel situated on the banks of the river Rupel in Belgium. Growing up in Schelle where the Rupel meets the river Schelde. He developed a passion for drawing and painting maritime subjects. “The reason to paint maritime subjects is probably to be found with my family roots. On my mother’s side there were quite a few river barge men and my father was involved in the shipping business. The water has always fascinated me, in my spare time I enjoy sailing on the inland waterways of Holland and around the Channel coast.” Apart from marine scenes, Ronny also paints landscape and still life, which are in the style of the old Flemish masters (like Willem Dolphyn) with an eye for detail and composition.

Ronny Moortgat • Balclutha Riding High Belgian, Contemporary • Oil on Canvas, 20” x 27” • Price Code B

“Alongside the rather strict classical work I also do the more impressionist approach that involves the rather loose brushstroke. I try to create detail and atmosphere. I also try to learn from other painters by looking very closely at their work and reading all about them. I also spend time in museums to study the work of the great masters. The process of learning never stops, borders are constantly redefined. Always trying to do better but never satisfied!”

Ronny Moortgat • Classic Regatta Belgian, Contemporary • Oil on Canvas, 28” x 40” • Price Code C

Donald Hamilton Fraser R.A. • The Striped Sail British, (1929-2009) • Oil on Paper, 7” x 4.75” •

Price Code C

DONALD HAMILTON FRASER R.A. (British, 1929-2009) His boldly-handled and richly-coloured semi-abstracts established Donald Hamilton Fraser as one of the most distinctive Modernist painters of the immediate postwar generation. Donald’s dramatic use of colour lends the landscape an almost surrealistic air. The marks of his palette-knife technique can often be clearly seen in the foreground, lending real texture to the picture surface. The bright swathes of colour are not blended together, but stand in stark contrast and create a feeling of joy and vivacity that dominates the works.

Donald Hamilton Fraser R.A. • Still Life of Toys British, (1929-2009) • Oil on Paper, 12” x 15” •

Price Code C

Donald Hamilton Fraser R.A. • Seascape with Dunes British, (1929-2009) • Oil on Paper, 9” x 11.5” •

Price Code C

Donald Hamilton Fraser R.A. • Landscape at Ménerbes British, (1929-2009) • Oil on Paper, 7.5” x 10” •

Price Code C

Auguste Bouvard (signed Pelletier) • Rivière du Midi French, (1882-1956) • Oil on Canvas, 19” x 25” •

Price Code C

SALVADOR DALÍ (Spanish, 1904-1989) La vierge et le rhinocéros was created in preparation for a stained glass project which was installed at the Teatro-Museo Dalí, Figueras, and was later used in the lithographic series Les vitraux (circa 1974) and Le jungle humanine (circa 1976).

Rendered with a graphic simplicity and bold colours, fittingly for its transformation into coloured glass, the work also draws together two familiar subjects which appear repeatedly within Dalí’s pictorial landscape - the rhinoceros and the virgin. The rhinoceros, and in particular its horn, held a specific emotional and symbolic significance for Dalí. The controversial painting Jeune vierge autosodomisée par sa propre chasteté of 1954 was the first such work to draw on the more literal visual similarities between the rhinoceros’ horn and male virility. And yet even in this initial use of the virgin counterpoised with the ‘horn’, Dalí resists an instinctive simplification of his iconography. Rather, the horn of rhinoceros is conceptualised as a symbol of chastity through its association with that of the unicorn: ‘The rhino’s horn is indeed the legendary unicorn horn, symbol of chastity. The young lady may choose to lie on it or to morally play with it; as it was usual in courtesan love epochs’. Indeed, moving beyond associations with the mythical, the rhinoceros was believed by Dalí to be a cosmic animal, belonging to the heavenly domain in much the same way as the virgin. His explorations with the dynamics of the logarithmic spiral as a means to achieve a divine geometry led him to discover that the rhinoceros’s horn naturally conformed to this perfect structure and thus represented innate celestial attributes. Ever the provocateur, Dalí positions the virgin with the rhinoceros as a means of heightening the sexual liaison: the virile beast meeting the vulnerable virgin in a kind of cosmic marriage. However, he undoes his visual language through a balancing of symbolic opposites. Once again Dalí conveys the unexpected, conversely championing the themes of impotence rather than sexuality. These seemingly contradictory figures consequently serve to convey one of Dalí’s central beliefs, namely that through chastity and impotence, creative spirituality can be achieved: ‘if people make love, there is no more the spiritual strength, no more the spiritual thoughts’

Salvador Dali La Vierge et le Rhinocéros Spanish, (1904-1989) Gouache and Watercolour on Paper, 25.5” x 18.75” Price Code F

Pierre Grisot Deux Jeunes Ballerines French, (1911-1995) Oil on Canvas, 16” x 13” Price Code C

PIERRE GRISOT (French, 1911-1995) The French post-impressionist artist Pierre Grisot, member of the Parisian School of art, enjoyed a distinctive career as an artist from 1940 to 1995. In this period he gave to the world of art a captivating set of canvases that romantically portrayed the exciting and colourful world of young dancing girls, nude models, coquettes and ladies of leisure. The ‘An Afternoon Promenade’ is a fine example of Grisot’s favourite theme. A sharply dressed, self-assured young woman portrayed with Grisot’s brilliant use of color and his almost pixie-like renditions of the female visage. Grisot affirms the sensual tension of the situation by his subtle inclusion of a berry-sporting young beau posturing in the background - and the scene is set by the artist for what surely will be an exciting encounter,. In his painting of ‘Two Beauties’ the artist captures a more refined scene exemplified by the portrayal of two young girls in elegant costumes. It depicts the sensual delicacy of the well featured faces of his subjects and by the careful positioning of the two ladies establishes a romantic and sensual frisson leaving the viewer wondering about the exact nature of the event that is about to unfold. One can read into this image of seemingly self-indulgent leisure the joyful experience of two elegant ladies ready to embrace and enjoy the pleasures of a special occasion.

Pierre Grisot • An Afternoon Promenade

Pierre Grisot • Two Beauties

French, (1911-1995) • Oil on Canvas, 21” x 18” •

French, (1911-1995) • Oil on Canvas, 18” x 13” •

Price Code C

Price Code B

Guy Seradour The Ballerina French, (1922-2007) Pastel, 21 1/2 “ x 18” Price Code C

Sir William Russell Flint R.A., P.R.S.W. The Leading Lady British, (1880–1969) Watercolour, 16” x 12” Price Code E

John Berry The Sentinel British, (1920-2010) Oil on Canvas, 30” x 24” Price Code D

Maureen Hyde The Huntress American, Contemporary Oil on Canvas, 32” x 36” Price Code C

DAVID MUELLER (American, Contemporary) David Mueller, originally from the suburbs of Chicago, IL, currently resides in Northern Kentucky, across the Ohio River from Cincinnati, OH. He is a 1987 graduate of The American Academy of Art, in Chicago, whose fine art program had a strong focus on traditional realism. “I like to create renderings that capture the essence of simple, yet profound, aesthetics. The current focus of my work is primarily figurative paintings, many including some kind of decorative element. I strive to create “timeless” images. My style is aimed at finding a happy medium between classical realism and impressionism. I also love to plein air paint to try to capture the essence of natural landscape.” His work has been the subject of many regional publications, including print, television, and radio.

David Mueller • Evening Ritual American, Contemporary • Oil on Canvas, 16” x 20” •

Price Code B

David Mueller Emerald and White American, Contemporary Oil on Canvas, 42” x 32” Price Code D

ARIS RAISSIS (Egyptian, Contemporary) Aris Raissis was born in Cairo in 1962 and is of Greek origin. During his years at art college he concentrated on figurative painting, portraiture and still-life. From early on, the artist’s aim has always been to reinstate the techniques of the Old Masters, whilst at the same time, selecting contemporary subject matter. In May 1994 his painting “Women at Work” was auctioned at the London Dorchester Hotel for the sum of £25,000 and in July 1995 his commissioned portrait of H.R.H Crown Prince Alexander of Yugoslavia was unveiled at London’s Claridges Hotel in the presence of H. M. Queen Elizabeth II and other Kings and Queens from around the world. Aris Rassis works mostly upon commission and his paintings and drawings can be found in many reputable homes throughout the world including: Mexico, USA, Egypt, Italy, Spain and UK.

Aris Raissis A Moment in Time Egyptian, Contemporary Pencil on Paper, 10.5” x 7.5” Price Code A

Aris Raissis • That’s the Spirit ! Egyptian, Contemporary • Oil on Panel, 12” x 10” •

Price Code C

NORMAN ROCKWELL (American, 1894-1978) Although his vast body of work has often been dismissed or stereotyped, Rockwell remains one of 20th-century America’s most enduring and popular artists. Now, more than one hundred years after his birth, he is achieving a new level of recognition and respect around the world Born in New York City in 1894, Norman Rockwell always wanted to be an artist. At age 14, he enrolled in art classes at The New York School of Art and found success early on: he painted his first commission of four Christmas cards before his sixteenth birthday. Reflecting the shared experiences we have throughout our lives, Norman Rockwell’s paintings are truly timeless. His canvases are filled with the small details and nuances of ordinary people in everyday life. Taken together, his many paintings capture something much more elusive and transcendent — the essence of the American spirit. “I paint life as I would like it to be,” Rockwell once said. Idealistic and innocent, his paintings evoke a longing for a time and place that existed only in the realm of his rich imagination and in the hopes and aspirations of the nation. How many of us so easily remember watching and listening with curiosity at the parties our parents would throw. Banished upstairs whilst the adults clinked their glasses, chattered away, shrieked with laughter. How many of us sat at the top of the stairs transfixed in wonderment and longing as this spectacle unfolding before our eyes. The little girl is shown sitting at the top of the stairs in her pyjamas, peering down at a living room packed with partiers. You see only her back. And she’s alone, of course, longing to join the “grownup” party. How well Norman Rockwell captured this universal banishment in his A Balcony Seat.

Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed. —Norman Rockwell

Norman Rockwell • A Balcony Seat American, (1894-1978) • Oil on Card, 15” x 19 3/4” •

Price Code F

HENRY GEORGE TODD (British, 1846-1898) Henry George Todd was born in Bury St Edmunds, in Suffolk. His father, Arthur Todd, owned a large decorating business which specialised in ceilings and murals, most of his work was executed in West Suffolk. When Todd reached the age of 18, it was decided that he should attend art school where he could develop his artistic talent. He subsequently enrolled at the Royal Kensington School of Art, where he studied painting and drawing, and became a great admirer of the Dutch Masters. At the age of 22 Henry Todd returned to Suffolk, where he entered the family business, working in design, decoration and gilding. After a few years in Bury Todd left for Ipswich where he obtained a position with Stearns - the most important decorating company in the town. Although Todd was working full time he still found time to paint his still life pictures and Suffolk landscapes. He was always very sensitive about his work and the slightest criticism would cause him to either defer the work or in exceptional circumstances completely erase it. His independent mind and stubborn nature were said to have hampered his prosperity; he made little attempt to solicit patrons. In his day he was said to be one of the finest grape painters. His work has a quality reminiscent of the Dutch School. Toddâ&#x20AC;&#x2122;s early works were influenced by Edward Ladell, his paintings are similar to Ladellâ&#x20AC;&#x2122;s but painted in a more realistic matter with a greater crispness and focus to his works. Todd was also fond of introducing English and Chinese porcelain usually with fruit to his paintings. His figure work was absolutely delightful. Seaweed Gatherers by this talented artist is a wonderful painting on display in the Bury Art Museum, one of 7 of his paintings in public collections today. Many of the others are held by the Colchester and Ipswich Museum. Henry George Todd exhibited at the Royal Academy in 1888, two works at the Suffolk Street gallery and at the Ipswich Fine Art Society from 1875 to 1897.

Henry George Todd In the Orchard British, (1846-1898) Oil on Panel, 18” x 13” Price Code D

Peter Symonds 5-10 November 2013 Gladwell & Patterson 5, Beauchamp Place, London SW3 1NG

GL ADWELL & PATTERSON

Peter Symonds Lough Eagher and Carrauntoohil, Kerry, Ireland British, (Contemporary) Oil on Canvas, 16” x 20”

Pablo Picassco Guitare Accroche sur Mur Spanish, (1881-1973) Oil on Canvas, 32” x 32”

• FINE ART ASIA • 3-7 October 2013 • Hong Kong Convention and Exhibition Centre • Hall 5BC • 1 Expo Drive, Wanchai, Hong Kong Please contact us for tickets

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INDEX John Berry p.68 Nick Bibby p.10-11 Auguste Bouvard p.30-31, 60-61 Colin Burns p.14-15 Robert Chailloux p.38-43 Edouard Cortes p.33 Salvador Dali p.62-63 Montague Dawson p.52-53 Wycliffe Egginton p.26-37 Russell Flint p.67 Donald Hamilton Fraser p.56-59 Eugene Galien-Laloue p.32 Derek G.M. Gardner p.50-51 Pierre Grisot p.64-65 Maureen Hyde p.69 Alexandre Louis Jacob p.22-23 Stewart Lees p.46-47 Karl Martens p.6-9 Maurice Martin p.16,21 Francois de Montholon p.20 Ronny Moortgat p.54-55 David Mueller p.70-71 Charles Perron p.44-45 Pablo Picasso p.79 Jonathan Pike p.36-37 Aris Raissis p.72-73 Georges Charles Robin p.17-19 Norman Rockwell p.74-75 Guy Seradour p.66 David Shepherd p.4-5 Harry Sutton Palmer p.28-29 Peter Symonds p.78 Martin Taylor p.24-25 Henry George Todd p.Cover, 76-77 Joseph Mallord William Turner p.2-3 Peter van Breda p.34-35 Pieter Wagemans p.48-49 Edward Waites p.12-13

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5 Beauchamp Place, London SW3 1NG • +44 (0)20 7584 5512 • glenn@gladwellpatterson.com • www.gladwellpatterson.com