Gladwell & Patterson | Venice 2015 by Gladwell & 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

THE PAGEANT OF VENICE 20 January –11 February 2016 Venice is captivating; the sense of pervading beauty, the frenetic energy of the City or the stillness of a moonlit canal. Our annual “Venice In Peril” exhibition used to rekindle one’s love of this magical place and sustain many of us through gloomy January afternoons. It is time, once again, to bring Venetian colour and light to our gallery walls in Beauchamp Place and to celebrate the pageant of popular life of the Venice of yesteryear and today. A stunning watercolour by John Singer Sargent leads the exhibition. I Gesuti, brilliantly captures the character of this magnificent city. Alongside Sargent are an array of 19th and 20th Century paintings and selected works by contemporary artists, that take us on a journey through this mysterious city. The exhibition celebrates artistic excellence captured by artists with very different styles, brushstrokes and techniques, all brought together under one roof to portray interesting scenes and quirky corners of the City, all imbued with vibrant hues and colours. We sincerely trust you will enjoy this beautiful and varied collection of pictures and that you will help support the Venice in Peril Fund, whose tireless efforts to restore and renovate Venice helps us all to enjoy the city now, and to preserve it for future generations. A donation of all sales will go towards the Venice in Peril Fund. We are delighted to re-establish our partnership with Kirker Holidays, the out-standing and personally, highly-recommended holiday company for the art loving traveller, with whom we worked for many years during the W.H. Patterson Venice exhibitions. One of our lucky patrons who purchases a painting during the exhibition will be the lucky recipient of a 5 star weekend in Venice for two people, curtesy of the generosity of Kirker Holidays. This collection of works will bring with it stories, people and patronage that has allowed this remarkable city to evolve over the centuries and for many clients and friends, treasured memories.

“ Venice can only be compared to itself ” - J. W. Goethe, Italian Journey, 1786 -1788 Venice has been and remains to be a unique travel destination. In the 18th Century the city was revered as a principal destination for young aristocratic gentlemen as part of The Grand Tour. La Serenissima assumed the mantle of the pleasure capital of Europe; by day gentlemen would delight in the art and unique architecture of the city; by night carnivals, gambling and the infamous cortesans ensured that enjoyment was had by all. The era of The Grand Tour in Venice was brought to an abrupt end by Napoleon’s invasion of Italy in 1797, shortly followed by the occupation of the Habsburg Empire. The early 19th Century brought Venice renowned visitors such as Byron and Ruskin, entranced by Venice’s hidden secrets as retold in their writings on the city. Their texts contributed to a romantic rebirth of La Serenissima and Venice continued to be a great source of inspiration to writers and artists alike, with Whilstler, Monet and Sargent paying homage to this amphibious city through their work. This 19th Century folding map is an example of the guide that these visitors would have used to navigate themselves along Venice’s many waterways.

Map of Venice “Pianta Topografica Della R.'Citta' Di Venezia”, printed circa 1850 by the Fratelli Vallardi, publishers in Milan. 58 x 74 cms, 23” x 29”. Image courtesy of The Map House, 54 Beauchamp Place. 5

Now celebrating our 30th year, Kirker Holidays offers carefully-crafted short breaks and tailor-made holidays to 80 cities and more than 250 countryside destinations throughout Europe and beyond. From short breaks to Europe’s classic cities, to complex tailor-made itineraries or special celebrations, our team of experts offers the very best expert advice and exceptional service, creating the perfect holiday to suit your own individual requirements. Travel by any combination of flights from your local airport, rail, Eurostar or private car – or perhaps the Venice Simplon-Orient-Express, the ultimate way to travel from London to Venice in style. Our private vehicle transfers will whisk you from airport to hotel, and our range of individually-selected accommodation includes private residences, boutique hotels and grand palazzos in the heart of each destination. The unique Kirker Guide Notes offer tips and recommendations for sightseeing and local restaurants and the Kirker Concierge is available to all clients to arrange a walking tour with an expert local guide, organise entrance to galleries and museums, book tickets for an opera, concert or ballet performance or to reserve a table at a recommended restaurant. For those who prefer to travel with a small group of like-minded companions in the company of an expert tour lecturer, our programme of Cultural Tours and Music Holidays include exclusive Kirker Music Festivals, visits to major concerts and events, and escorted tours designed with a focus on art, architecture, history, archaeology and gardens. To speak to an expert or request a copy of our latest brochure, call 020 7593 2283 or visit www.kirkerholidays.com

The Venice in Peril Fund has financed the restoration of more than 40 monuments, churches and works of art in danger of irreversible decay. But over the years it has become clear that Venice presents special challenges beyond need for restoration. The lagoon is a uniquely complex environmental system, deeply affected by modern life itself; pollution, climate change and economic choices. Flooding is not the only threat to Venice: tourism, transport, industry and changing demographics are all having a significant impact on the delicate city. Sound information and understanding of these issues are vital if there is to be long-term planning for a sustainable future. Venice in Peril is dedicated to spreading the message that Venice is so ecologically fragile that it will survive only as long as people want it to survive and are prepared to spend a great deal of money and political energy looking after it. Their resources go into the vital, on going work to preserve this magical but environmentally fragile city.

Wilhelm Karl Ferdinand Arnesen • A Gentle Breeze Danish, (1865-1948) • Oil on Canvas • 18” x 28”, 46 x 70 cms • Price Code E 8

Edward Pritchett • The Merchants of Venice British, (1808-1894) • Oil on Canvas • 14” x 21”, 35 x 53 cms 10

• Price Code E

I stood in Venice, on the Bridge of Sighs; A palace and a prison on each hand: I saw from out the wave her structures rise As from the stroke of the enchanter’s wand; A thousand years their cloudy wings expand Around me, and a dying glory smiles O’er the far times when many a subject land Looked to the wingéd’s Lion’s marble piles, Where Venice sate in state, throned on her hundred isles! “Venice” by Lord Byron (1788–1824) An exerpt from Childe Harold’s Pilgrimage, Originally published in 1812

Federico del Campo The Bridge of Sighs Peruvian, (1837-1927) Oil on Canvas 23” x 15”, 58.5 x 38 cms Price Code F 11

MARIUS REYNAUD Born in Marseille in 1860, Reynaud showed great artistic talent from an early age and became a painter for the Military. In 1879 he was sent to Algiers as part of his military service. Reynaud became enamoured by his new home and decided to settle in the city. Reynaud was an impeccably skilled draughtsman and a distinguished colourist. His work was revered at the Paris Salon and was widely collected in his lifetime. This painting was originally in the personal collection of the gallery owner Jean de Ruaz. Ruaz was the son of the chief architect of the Musée du Luxembourg in Paris, and therefore from a very early age he was immersed in the artistic circles of Paris. Galerie Jean de Ruaz was located in one of the most prestigious districts of Paris at 31 Avenue de Friedland. The gallery held many major exhibitions of Impressionist and Post-Impressionist artists: Albert Lebourg, Armand Guillaumin, Eugene Boudin, Marcel Cosson, Pierre Eugène Montézin, Felix Ziem and his followers and Auguste Rodin to name but a few. Jean de Ruaz built an outstanding personal collection of artworks of the highest quality, the present work included.

Marius Reynaud • The Doge’s Palace from the Riva degli Schiavoni French, (1860-1935) • Oil on Canvas • 18” x 36.5”, 46 x 93 cms • Price Code C 12

Moore Smith • Celebrations at the Opening of the 1905 Biennale American, (1890-c.1950) • Oil on Canvas • 26” x 40”, 66 x 102 cms • Price Code D 14

Rafael Senet Y Perez The Doge’s Palace Spanish, (1956-1926) Oil on Canvas 20” x 32”, 50 x 80 cms Price Code D

Peter van Breda Morning Light, Piazzetta British, (Contemporary) Oil on Canvas 21” x 25”, 53 x 63.5 cms Price Code B

KEN HOWARD OBE RA Ken Howard OBE RA is one of Britain’s leading painters. He is known for his paintings of studio nudes, scenes of London, and most famously of Venice, where he spends a large part of the year studying and painting in situ. For Howard, Venice offers the perfect setting in which to explore its unique light and shimmering waterways. “For me painting is about three things. It is about revelation, communication and celebration. By revelation I mean giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes.”

Ken Howard • View from the Accademia British, (born 1932) • Oil on Canvas • 20” x 24”, 50.5 x 61 cms • Price Code D 17

Gaston Boucart • The Splendour of the Grand Canal French, (1878-1962) • Oil on Canvas • 18” x 22”, 46 x 56 cms • Price Code D 18

GASTON BOUCART Boucart was born at Angouleme in south west France. He studied at the School of Fine Arts in Paris under the French symbolist painter Gustave Moreau and later he was taught by Francois Flameng and Fernand Cormon. Boucart is best known for his scenes of the French landscape, however his colourful and luminous paintings of the waterways and architecture of Venice are widely collected today. He exhibited at the Paris Salon during 1913-1939, where he became a member and received an honorable mention in 1928. In 1937 he was awarded the Legion d’Honneur for his services to art.

Walter Dolphyn • Corrida Y Gondola (The Spanish Tourist) Belgian, (Contemporary) • Oil • 8” x 23”, 20 x 58 cms • Price Code C

Paul Czainski • Hide and Seek British, (Contemporary) • Acrylic on Canvas • 8” x 14”, 20 x 36 cms • Price Code B

Paul Czainski • Venice Showtime British, (Contemporary) • Oil on Canvas • 24" x 12”, 61 x 30 cms • Price Code B 20

Paul Czainski • Pageant Paddlers British, (Contemporary) • Watercolour • 23.5" x 18”, 46 x 60 cms • Price Code B 21

Trevor Hadden • A Canal Side Conversation British, (1864-1941) • Oil on Canvas • 16” x 26”, 40 x 66 cms • Price Code C 22

Alexandre de Andreis • The Venetian Musketeer Belgian, (1830-1929) • Oil on Canvas • 24” x 18”, 61 x 46 cms • Price Code C 23

SIR FRANK BRANGWYN Brangwyn was born in Belgium in 1867. His father was a Welsh architect and the first years of Frank’s life were spent in Bruge. The Brangwyn family returned to London in 1875 and from an early age Frank Brangwyn was encouraged to draw and study the arts. Brangwyn began his career working as a glazier for William Morris from 1882-1884. He also began painting and gained a reputation for seascapes and landscapes. Brangwyn also designed the British Rooms for the Venice Biennale in 1905-1907 and went on to hold one man exhibitions in London and illustrated for numerous publications and books. One of the most notable of these was The Pageant of Venice by Edward Hutton, published in 1922. Hutton’s text describes the History of Venice from its origins to the 19th Century, and Brangwyn’s brightly coloured illustrations depict a variety of the city’s bridges and notable palazzos. This painting depicts a religious procession. A great golden reliquary is being carried over the bridge and onlookers line the side of the canal and the bridge as the procession passes them by. The bright colours and rapid brushstrokes add to the sense of the parade and celebration of this pageant.

Sir Frank Brangwyn • The Pageant of Venice British, (1867-1956) • Oil on Canvas • 25” x 30”, 64 x 76 cms • Price Code F 24

Lionel Aggett • The Fishmarket, Rialto British, (1938-2009) • Pastel • 31” x 39”, 80 x 100 cms • Price Code C 26

Lionel Aggett Venetian Red

Lionel Aggett Still Waters, Venice

British, (1938-2009) Pastel 26” x 20”, 66 x 50 cms Price Code B

Jonathan Pike The Green Watergate British, (Contemporary) Oil on Panel 24.5” x 19”, 62 x 48 cms Price Code D

Jonathan Pike A Quiet Evening

Jonathan Pike The Little Bridge

British, (Contemporary) Watercolour 7.5” x 5.5”, 19 x 13 cms Price Code B

Jonathan Pike Watergate with Four Posts British, (Contemporary) Watercolour 7.5” x 5.5”, 19 x 13 cms Price Code B

Jonathan Pike The Pink Palazzo British, (Contemporary) Watercolour 7.5” x 5.5”, 19 x 13 cms Price Code B

AUGUSTE BOUVARD Antoine 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 as 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. His chief dealer in Paris suggested that Bouvard should consider Venice as a subject, which would suite his soft palette and expert handling of the light. From that point his career never looked back. His first solo exhibition in Britain was held at Gladwell & Company in Queen Victoria Street in 1928. Royal Patronage was secured through the purchase by Queen Mary of two of Bouvard’s oils. The gallery continued to acquire paintings directly from the artist until 1956 and subsequently has sourced his exquisite work throughout the world. 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 • Evening Light, Santa Maria della Salute French, (1882-1956) • Oil on Canvas • 20” x 25”, 51 x 64 cms • Price Code E 32

Auguste Bouvard • Late Afternoon, Venice French, (1882-1956) • Oil on Canvas • 25.5” x 36.5”, 65 x 93 cms • Price Code E 33

Auguste Bouvard (signed Marc Aldine) • Backwater and a Flower Stall, Venice French, (1882-1956) • Oil on Canvas • 24” x 36”, 61 x 92 cms • Price Code E 34

Auguste Bouvard (signed Marc Aldine) • A Romantic Afternoon French, (1882-1956) • Oil on Canvas • 21.5” x 32”, 54.5 x 81 cms • Price Code E 35

Auguste Bouvard • Sunlight and Shadows French, (1882-1956) • Oil on Canvas • 33 x 24 cms, 13" x 9.75’' • Price Code C 36

Auguste Bouvard • Golden Light in Venice French, (1882-1956) • Oil on Canvas • 60 x 81 cms, 23.5" x 32” • Price Code E 37

John Singer Sargent I Gesuati, Venice American, (1856-1925) Watercolour, Executed circa 1902-1904 18” x 12”, 46 x 30.5 cms Price on Application

JOHN SINGER SARGENT John Singer Sargent’s earliest views of Venice date from the summer of 1880, when the artist took a studio at the Palazzo Rezzonico and ventured out into the streets to paint. The resulting works largely comprise scenes of modern life, populated by working-class men and women idling in the narrow streets or laboring in dark interiors, rendered in a tonal palette. Sargent returned to Venice repeatedly over the next thirty years, eventually completing over 150 views of the city in both watercolor and oil. In his later watercolors, however, Sargent abandoned the moody darkness of the early Venetian scenes, and instead created dazzling architectural views filled with color and light. Sargent's Venetian watercolors are frequently distinguished by cropped compositions and confident, vigorous brushwork that are characteristic of the artist’s finest works. His preference for painting in a gondola affords a low vantage point from which the viewer, like the artist, has the experience of floating along the Venetian canals, looking up at the city’s magnificent architecture. The shifting angles and tilted perspective lend these works a sense of immediacy and spontaneity. Executed circa 1902-1904, the present work features the church of Santa Maria del Rosario (Our Lady of the Rosary), known as I Gesuati, which stands on the Zattere along the south side of Venice, facing the Giudecca Canal. Designed by renowned Venetian architect Giorgio Massari, the church was built over a thirty-year period from 1726 to 1755. "The upright format [of I Gesuati] allows the artist more room to display the full height of the church's majestic façade (one of his favourites), here flanked symmetrically by groups of side buildings. The scene is set in a sparkling key and animated by figures”. The unique character of Venice, with its grand buildings lining the canals and the pervasive quality of light reflected on water, compelled many 19th Century artists to visit and paint the city. Sargent had introduced Claude Monet and his wife to Mary Young Hunter, a wealthy American who invited the Monets to stay with her at the Palazzo Barbaro in October 1908. The Palazzo Barbaro was the Venetian home of expatriate Americans Mr. & Mrs. Daniel Curtis, close friends of Sargent's with whom he often stayed himself during visits to the city. This was to be Monet’s only trip to Venice, during which he undertook a series of thirty-seven paintings. Rather than taking the angular views from a gondola on the canals preferred by Sargent, Monet painted from the terrace and steps of the Palazzo Sargent’s fascination with the complexities of Venice, its architecture and inhabitants never diminished. Richard Ormond writes that his Venetian compositions are a testament “to his lasting fascination with the city, its great past and its present-day vitality, its ambiguity as a city on land and in water, and its peculiar ambiance of fantasy and escape. Deep-seated as was Sargent’s nostalgia for the Venice of the past, the manner in which he chose to record it was intensely modern. His studies, seemingly so spontaneous in feeling, were the product of careful construction and a concern with the surface properties of paint. As a creative artist, Sargent never stood still; he never relied on formulas and was always reaching to capture the essence of what he saw and experienced”.

Pierre de Clausade • San Giorgio Maggiore French (1910-1976) • Oil on canvas • 18” x 21.5”, 46 x 56 cms • Price Code C 40

Carlo Follini The Fondamenta della Dogana Italian, (1848-1938) Oil on Panel 17.25” x 10.5”, 44 x 26 cms Price Code C

SIR WILLIAM RUSSELL FLINT William Russell Flint was the most influential and highly regarded watercolour artist in London in the 1930’s. Flint started his career as a very sucessful illustrator for the London News and went on to illustrate numerous publications. Before the outbreak of the War he visited Rome and it was whilst in Italy that he discovered the the charm and beauty of the watercolour medium. After the War Flint travelled to Scotland, France, Italy and Spain where he produced many spectacular watercolours. This painting depicts the Traghetto at San Stae. Traghetti were used to cross the Grand Canal before the Rialto bridge was built in the mid 19th Century, and they are still used today to cross the Grand Canal at seven points. Here, Flint focuses not on the buildings and the Traghetto, but on the soft ripples in the water of the canal. It reveals Flint’s mastery of the medium and his ability to capture the light effects on the water’s surface so brilliantly. The viewer's eye is drawn across the water and upto the buildings and Traghetto in the background, creating a perfect sense of perspective to the composition.

Sir William Russell Flint • Traghetto at San Stae British, (1880-1969) • Watercolour • 19.25” x 26”, 49 x 66 cms • Price Code F 42

Josa Checa Galindo • Santa Maria della Visitazione and I Gesuati Spanish, (born 1950) • Oil on Canvas • 20” x 24”, 50 x 61 cms • Price Code B 44

JOSA CHECA GALINDO Galindo was born in Valencia in 1950. He was a self taught artist and at the age of twenty-five joined an artistic group known as the “Pont de Fusta”. This group of Spanish artists would paint together on an old wooden bridge that crossed the river Turia in Valencia. Galindo was most famous for his impressionistic landscapes of his native Valencia and the surrounding area. His characteristic brushstrokes are loaded with light and movement. The artist frequently visited Venice and during his time in the city created some of him most remarkable masterpieces. In 1993 Venice in Peril helped fund the restoration of the painted and gilded ceiling of Santa Maria della Visitazione. Preserved for future generations to enjoy, are the 58 roundel panel paintings by the 15th-century Umbrian artist Pier Paolo Agabiti and the frescoed Evangelists in the pendentives of the cupola.

Peter van Breda Morning Light, Grand Canal British, (Contemporary) Oil on Canvas 39” x 32”, 100 x 80 cms Price Code C

Peter van Breda Evening Light towards Salute British, (Contemporary) Oil on Canvas 32” x 39”, 80 x 100 cms Price Code C

Peter van Breda Evening Lights, Grand Canal British, (Contemporary) Oil on Canvas 24” x 31.5”, 60 x 80 cms Price Code C

Ronny Moortgat • Santa Maria della Salute at Dusk Belgian, (Contemporary) • Oil on Canvas Board • 16” x 24”, 40 x 60 cms • Price Code B 48

Ronny Moortgat • View towards San Giorgio Maggiore Belgian, (Contemporary) • Watercolour • 16” x 24”, 41 x 60 cms • Price Code A 49

HENRY MALFROY The French artist Henry Malfroy was born in Martinique in 1895. He was a Post Impressionist painter who specialised in the topographic subjects of landscapes and seascapes. Although largely focussing on rural scenes, his urban landscapes were centred around the town of Cassis and the street scenes of Paris. Malfroy travelled a great deal to identify new subjects. He produced a large number of images of the hillsides and ports of Bouches-du-Rhone and of Var. It is thought he was the son of Charles Malfroy and their work is often confused being similar in nature and subjest matter. Malfroy exhibited regularly at the Paris Salon and the Salon des Independents.

Henry Malfroy • The Pageant of Venice French, (1895-1944) • Oil on Canvas • 24” x 36”, 61 x 92 cms • Price Code D 51

INDEX Lionel Aggett Alexandre de Andreis Wilhelm Karl Ferdinand Arnesen Gaston Boucart Auguste Bouvard Sir Frank Brangwyn Peter van Breda Federico del Campo Pierre de Clausade Paul Czainski Walter Dolphyn Carlo Follini Josa Checa Galindo Trevor Hadden Ken Howard OBE RA Henry Malfroy Ronny Moortgat Rafael Senet Y Perez Jonathan Pike Edward Pritchett Marius Reynaud Sir William Russell Flint John Singer Sargent Moore Smith

p.26-27 p.23 p.8-9 p.18-19 p.32-37 p.24-25 p.15, 46-47 p.11 p.40 p.20-21 p.20 p.41 p.44-45 p.22 p.16-17 p.50-51 p.48-49 p.15 p.28-31 p.10 p.12-13 p.42-43 p.38-39 p.14

28 22

24 46

41 40

10 23 44 38

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