Gladwell & Patterson | Christmas 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

Winter Collection 2015 Well, the weather outside is frightful, but the snow is so delightful… come and warm your hearts at Gladwells during this festive period and enjoy the beautiful paintings that we have gathered together for your appreciation. Be it a grandmother imparting wisdom to her grandchildren in Karl Dewy’s stunning “Storytime” or Gainsborough’s superb portrait of Lord Rodney, there is something for everyone in our Christmas collection. Special mention must also go to our new sculptor Simon Gudgeon who joins our increasingly strong and extensive sculpture section. His pure quality and originality have gained him an International reputation already and we are extremely excited that he has decided to join our gallery. We would also like to draw to your attention our impressionist collection which continues to gather strength year by year. Old favourites like Georges Robin and Alexandre Jacob have been gaining in popularity with increasing speed which confirms our decisions 65 years ago to acquire their works directly from them. They are joined by such talented artists as Gustave Loiseau, Victor Charreton, Maurice Martin, Andre Barbier, and of course, Monet, Sisley and Renoir. So please find time to come and share this fantastic collection with us. Seasons Greetings from all the team at G & P

Painting the Present Painting the Past Painting Perfection

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Painting the Present

Karl Martens Kite Swedish, Contemporary Watercolour 60" x 40”, 153 x 102cms Price Code C

Karl Martens Flying Goshawk Swedish, Contemporary Watercolour 30” x 22”, 76 x 56 cms Price Code B

Karl Martens Peregrine Falcon Swedish, Contemporary Watercolour 22” x 30”, 56 x 76 cms Price Code B

GYRFALCONS "Gyrfalcons are the worlds largest, and to my mind, most impressive falcon. Much is made of the Peregrine Falcon, because of its fierce nature, phenomenal speed and hunting prowess, and I do love them (and have sculpted them) but for me, the Gyrfalcon is even more impressive! Gyrfalcons lack the Peregrine’s top end speed, but they can survive in the harshest of climates, in Greenland, Iceland and the far north of America and Asia. They are so fierce and determined that they have been known to break their own legs bringing prey to the ground! As a child, I first learnt of these amazing falcons through the paintings of the late, great, Archibald Thorburn. His paintings of icy white Gyrs, set in wild, rugged, surroundings, made an immediate impression on my young self and planted the seed to one day sculpt one of these magnificent birds. I have since seen many captive birds, and one fleeting, but exhilarating glimpse of a wild Gyr, in the far distance, amid the dramatic scenery of volcanic Iceland. It was this sighting that provided the final impetus and inspiration for my sculpture. I resolved to depict a large, wild, female, ‘Icelandic’ Gyr. These northern birds are huge, and the mature females the largest and most impressive of all. Using copious photographs and measurements, of both wild and captive birds, plus a borrowed taxidermy mount of a big female bird, I started work on the wax sculpture. First building a supporting armature in aluminium, wood and brass, before working up the form using microcrystalline wax modeling clay. I paid close attention to the underlying anatomy, as I always do, particularly the impressive, muscular, broad-shouldered, “V” of the wild birds, before concentrating on refining the clean lines and sense of suppressed, explosive power, evident in the finished sculpture (I hope!)

Nick Bibby Gyrfalcon British, (Contemporary) Bronze (Edition of 12) 67” x 24” x 18”, 170 x 60 x 46 cms Price Code E

I chose to depict my Gyr poised on a blasted, wind-ravaged, tree stump, ready to launch in pursuit of some unfortunate prey. Gaze fierce and unflinching. Choice of patina was easy – that clear, icy white, softened with hints of grey, worn by those iconic northern Gyrfalcons of Thorburn’s paintings, seen all those years ago."

Nick Bibby British Longhorn Bull: Blackbrook Philosopher British, (Contemporary) Bronze (Edition of 12) 30” x 40”, 76 x 102 cms Price Code E

Nick Bibby Bloodhound: Trailfinder Fortitude British, (Contemporary) Bronze (Edition of 12) 8” x 12”, 20 x 30 cms Price Code C

Aris Raissis La Paysanne Greek, (Contemporary) Oil on Panel 20” x 16”, 50 x 40cms Price Code D

"The influence for this painting is derived from the figures in Jean-François Millet's painting "The Gleaners" painted in 1857 as well as the Orientalist Movement and the Dutch School. I created a young girl whose appearance seems timeless. Her gaze is not transfixed towards the viewer, but instead, she seems deep in thought."

Aris Raissis Lady of the Nile Greek, (Contemporary) Oil on Panel 16” x 12”, 40 x 30 cms Price Code C

"The 19th century French Orientalist Eugène Giraud's painting "A Terrace On The Banks Of The Nile," depicting several young Egyptian women gazing down towards the river, was my inspiration. In a typical Egyptian costume, Lady Of The Nile with coal black hair, suggests a feeling of serenity."

"In recent months, amongst the portraits of my cherished home-grown herbs, I have produced some very small scale works. My subjects for these little paintings reflect my passion for all things culinary - herbs, spices and olives. The small scale has resulted in paintings that are incredibly focused and very intensely observed. The role of light and texture play an even bigger role in this small space. A new challenge and wonderfully rewarding to make.” For a closer look at Stewart Lees work, view the new video biography on our website: www.gladwellpatterson.com/brand/Stewart-Lees

Stewart Lees • Golden Feverfew British, (Contemporary) • Oil on Gesso Panel • 19.5” x 27.5”, 50 x 70 cms • Price Code C

Stewart Lees Olives in a Blue Dish British, (Contemporary) Oil on Gesso Panel 5” x 7”, 13 x 18 cms Price Code A

Stewart Lees Chilli Powder and Coriander British, (Contemporary) Oil on Gesso Panel 4” x 6”, 10 x 15 cms Price Code A

Pieter Wagemans • Yellow Roses Belgian, (Contemporary) • Oil on Canvas • 12” x 16”, 30 x 40 cms • Price Code C

Pieter Wagemans White Tulips Belgian, (Contemporary) Oil on Canvas 27.5” x 27.5”, 70 x 70 cms Price Code D

Pieter Wagemans Tulips and Lilac Belgian, (Contemporary) Oil on Canvas 20” x 22”, 50 x 55 cms Price Code D

SIMON GUDGEON One of Britain’s leading contemporary sculptors, Simon Gudgeon has a signature smooth style that marvelously concentrates spirit and nature. His minimalist, semi-abstract forms depict both movement and emotion of a moment captured with a visual harmony that is unmistakably his own. "Making an object that is not essentially utilitarian defines humanity; it is the concept of beauty. A sculpture, on a superficial level must encapsulate beauty; it must uplift the spirit and enhance its surroundings. But on a deeper level it should resonate with the viewer and have a subconscious appeal to their emotions, whether those emotions are the same as the artist intended is not important, what is important is that the viewer connects with the art."

Simon Gudgeon • Lyrebird British, (Contemporary) • Bronze • 38.5" x 13" x 5.5", 98 x 33 x 14 cms • Price Code D

Simon Gudgeon Kingfisher British, (Contemporary) Bronze 9.5" x 8" x 6", 24 x 20 x 15 cms Price Code B

Simon Gudgeon Swans British, (Contemporary) Bronze 8" x 12" x 5", 20 x 30 x 13 cms Price Code C

For a closer look at Edward Waites work, view the new video biography on our website: www.gladwellpatterson.com/brand/Edward-Waites

Edward Waites • Leopard Descent British, (Contemporary) • Bronze (Edition of 12) • 12” x 9.5” x 4”, 30 x 24 x 10 cms • Price Code A

Edward Waites Dubawi Bust British, (Contemporary) Bronze (Edition of 12) 15” x 11” x 6”, 38 x 28 x 15 cms Price Code B

Edward Waites Kingman Maquette British, (Contemporary) Bronze (Edition of 12) 11” x 9” x 4”, 28 x 23 x 10 cms Price Code A

Martin Taylor The Golden Temple at Amritsar British (Contemporary) Oil on Canvas 28” x 24”, 70 x 60 cms Price Code D

Martin Taylor • The Golden Temple at Amritsar II British (Contemporary) • Oil on Canvas • 24” x 36”, 60cms x 91cms • Price Code D

Peter van Breda • Gothic Splendour from the Seine, Paris British, (Contemporary) • Oil on Canvas • 20” x 24”, 50 x 60 cms • Price Code B

Peter van Breda Cherry Blossom, Hyde Park, London British, (Contemporary) Oil on Canvas 13" x 18”, 33 x 46cms Price Code B

Peter van Breda Snow on Southbank, London British, (Contemporary) Oil on Canvas 32” x 40”, 80 x 100cms Price Code C

Ronny Moortgat • Plat Boden Plas Belgian, (Contemporary) • Oil on Canvasboard • 20” x 28”, 50 x 70 cms • Price Code B

Ronny Moortgat Star of Lapland Belgian, (Contemporary) Watercolour 16" x 21.5”, 40 x 55 cms Price Code B

Ronny Moortgat A Fair Wind Belgian, (Contemporary) Watercolour 16" x 21.5”, 40 x 55 cms Price Code B

Paul S. Brown • Apiarist’s Rest American, (Contemporary) • Oil on Canvas • 30" x 42", 76 x 107 cms • Price Code E

Paul S. Brown • A Pocket of Spoils American, (Contemporary) • Oil on Canvas • 24" x 30", 60 x 76 cms • Price Code D

Clarissa James • Peacock Screen Austrian, (Contemporary) • Oil painted on a triple layer of 23.5 carat gold • 50” x 24", 127 x 61 cms each • Price Code F

Painting the Past

GUSTAVE LOISEAU Loiseau was born in Paris in 1865. He was apprenticed to a decorator, a job he particularly disliked but his interest in art (especially landscape painting) grew when his parents moved back to their hometown of Pontoise in 1884. Pontoise was important in French painting at the time, having been extensively depicted by Pissarro and Cézanne. In 1887 Loiseau received a legacy from his grandmother which enabled him to give up his job as a decorator and devote his life to painting. His first teachers after a move to Paris included such illustrious names as Jean-Louis Forain, but he did not appreciate the more academic tendencies such artists promoted. It was not until a move to Pont-Aven in 1890 and his meeting with Henry Moret and Maxime Maufra that he found his style. He learnt a great deal first hand from Paul Gauguin, but his work also shows a debt to Sisley and Pissarro. He returned to Paris in 1891 where he began to exhibit his work, showing first at the Fifth Exhibition of Impressionist and Symbolist Painters. Loiseau belonged to the generation of young artists which the Impressionists recognised as the successors of their legacy. In 1895, Monet and Auguste Renoir introduced these young painters to their art dealer Paul Durand-Ruel, who signed an exclusive contract with Loiseau in 1897. Thanks to this contract, in the following years Loiseau was able to travel and explore various landscapes outside of Paris. After a period of pointillist experimentation in the early 1890s Loiseau re-found his pure landscape ideals painting in a Post-Impressionist manner painting ‘en plein air’, directly from nature. Loiseau developed a type of ‘cross-hatched’ technique, called ‘en treillis’ (latticework), which gives his paintings the supple, almost touchable quality he is known for.

Gustave Loiseau • Le Clos à Hédouville, Effet de Neige French, (1865-1935) • Oil on Canvas • 23” x 32”, 60.5 x 81.5 cms • Price Code F

Gustave Loiseau • Pontoise, le Coteau de l’Ermitage French, (1865-1935) • Oil on Canvas • 24" x 28.75”, 61 x 73 cms • Price Code F

VICTOR CHARRETON Victor Charreton began his professional life as a lawyer, but ultimately he totally devoted himself to painting. In 1902 he moved to Paris where he studied with Ernest Victor Hareux and Louis Aime Japy, both of whom were early influences on his work. He found his inspiration in Paris and through his travels in France and the rest of Europe. Victor Charreton is famous for his landscapes and still-life paintings, often sharing Impressionist preoccupations whilst trying to capture momentary effects of specific times of day or seasons, at sunset or in a snowy landscape. His evolution tended towards a use of richer and brighter colours, notably in the mauves and violets which characterise his style. Charreton started exhibiting in 1894 in Lyon and throughout his artistic career he achieved many notable awards for his painting. He was awarded prizes and medals in Paris at the Salon des Artistes from 1910 onwards, a 'mention honorable' in 1910, a silver medal in 1912, and a gold medal in 1913. As of 1914, he became a member of the jury of the Salon until he died. He was one of the founding members of the Show of Autumn (Salon d'Automne), and was made Knight of the Legion of Honour in 1914. Work by Charreton is housed in many museum collections, both domestic and abroad, including those in Charleston, Cleveland, Concord, Madrid, New York, Brooklyn, New Orleans and Paris.

Victor Charreton • Neige French, (1864-1936) • Oil on Canvas • 29” x 36”, 74 x 92 cms • Price Code F

Maurice Martin • Les Nénuphars French, (1894-1978) • Oil on Canvas • 23” x 27”, 60 x 70 cms • Price Code C

Maurice Martin • Les Pommiers dans la Village French, (1894-1978) • Oil on Canvas • 21” x 25”, 54 x 63.5 cms • Price Code C

Georges Charles Robin • Tranquil Reflections French, (1903-2003) • Oil on Canvasboard • 19” x 25”, 50 x 65 cms • Price Code D

Georges Charles Robin A Peaceful Mooring French, (1903-2003) Oil on Panel 11” x 14”, 28 x 36 cms Price Code C

Georges Charles Robin The Old Bridge French, (1903-2003) Oil on Panel 11” x 14”, 28 x 36 cms Price Code C

Georges Charles Robin • La Sèvre Nantaise vers Mallièvre French, (1903-2003) • Oil on Canvas • 18” x 15” 46 x 38 cms • Price Code C

Georges Charles Robin • La Maillaudiere French, (1903-2003) • Oil on Canvas • 29” x 24”, 74 x 61 cms • Price Code D

Georges Charles Robin • Les Ponts Neuf French, (1903-2003) • Oil on Canvas • 18” x 24”, 46 x 61 cms • Price Code D

Georges Charles Robin Confolens sur la Vienne French, (1903-2003) Oil on Panel 13” x 16”. 33 x 40 cms Price Code C

Georges Charles Robin La Sevre Nantaise á Moulin French, (1903-2003) Oil on Panel 11" x 14” 28 x 36 cms Price Code C

Georges Charles Robin • Dans la Baie d'Iffignac (près de St. Brieuc) French, (1903-2003) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price Code D

Georges Charles Robin • Le Bord de la Rivière French, (1903-2003) • Oil on Canvas • 19.75” x 25.5”, 50 x 65 cms • Price Code D

Alexandre Louis Jacob • Soir sur le Marais, Derniers Rayons French, (1876-1972) • Oil on Panel • 13” x 16”, 33 x 40 cms • Price Code D

Alexandre Louis Jacob • Winter’s Mantle French, (1876-1972) • Oil on Canvas • 18” x 15”, 46 x 38 cms • Price Code D

Alexandre Louis Jacob • Au Bord de Marais, Sur La Somme French, (1876-1972) • Oil on Panel • 16" x 13”, 40.5 x 32 cms • Price Code D

Alexandre Louis Jacob Chaumière au Bord de l’Eau, Asnières French, (1876-1972) Oil on Board 7” x 12”, 18 x 30 cms Price Code B

Alexandre Louis Jacob Fin d’Automne, Temps Nuageux French, (1876-1972) Oil on Board 14” x 21”, 36 x 54 cms Price Code D

Auguste Bouvard • Mory French, (1882-1956) • Oil on Canvas • 20” x 26”, 51 x 66 cms • Price Code C

Auguste Bouvard • The Fortified Bridge French, (1882-1956) • Oil on Canvas • 15” x 21”, 38 x 53 cms • Price Code C

Raphael Gasperi • Contemplation, painted in 1901 French, (1867-1927) • Oil on Canvas • 16" x 24", 40 x 60 cms • Price Code C

Jules Ausset • Bord de Rivière à Lucenay l’Evêque French, (1868-1955) • Oil on Canvas • 24” x 20”, 61 x 51 cms • Price Code B

ANDRÉ BARBIER André Barbier was born in Arras, France in 1883 into a wealthy family of lawyers. At the age of twenty, Barbier settled in Paris at the Quai aux fleurs, and in the same year, 1903, he began exhibiting landscapes and still-lifes at the Paris Salons; the Salon des Independants, the Salon d'Automme, the Societé Nationale des Beaux Arts, the Salon des Tuilleries and at the Société des Indépendants. In pursuit of subjects for his landscapes, he travelled between Paris, the Normandy coast and the French Riviera and also abroad to Italy. In 1916 Barbier met Claude Monet and the two artists imediately struck up a friendship that lasted until Monet’s death in 1926. Barbier sent Monet gifts, including one of his paintings and in return Monet gave Barbier three pastels. Monet was so taken with Barbier's works that he sponsored an exhibition of his works with a preface by his biographer and friend, Gustave Geffroy, who urged him to "Build of mist and light, a world of poetry."

André Barbier • Étretat French, (1833-1970) • Oil on Canvas • 24” x 32”, 61 x 82 cms • Price Code E

Pierre de Clausade • Sur Les Dunes French (1910-1976) • Oil on Canvas • 18” x 32”, 46 x 82 cms • Price Code C

Pierre de Clausade Pins sur la Côte French, (1910-1976) Oil on Canvas 20” x 24”, 50 x 61 cms Price Code C

Pierre de Clausade Paysage de Bord de Mer French (1910-1976) Oil on Canvas 21” x 25”, 54 x 65cms Price Code C

DONALD HAMILTON FRASER His boldly-handled and richly-coloured semi-abstracts established Donald Hamilton Fraser as one of the most distinctive Modernist painters of the immediate post-war 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 • A Boat on a Foreshore British, (1929-2009) • Oil on Canvas • 24” x 30”, 61 x 76.5 cms • Price Code D

Derek G.M. Gardner • Vice Admiral Lord Keith’s Advance Division British, (1914-2007) • Watercolour • 10” x 14”, 26 x 36 cms • Price Code C

Montague Dawson • Clearing Skies, The Sobron British, (1890-1973) • Oil on Canvas • 24” x 36”, 61 x 92 cms • Price Code F

Henry Scott was a painter of marines and coastal subjects strongly associated with the Royal Society of Artists. As well as painting lucrative shipping portraits for some of his wealthy clientele, he also executed a number of works of British and American clippers. Scott’s style is very similar to that of Montague Dawson. Scott works in a similar way to Dawson and captures a wonderful freshness and feel of immediacy in his marine subjects. Scott’s palette is striking, with all surfaces and elements observed, capturing every movement in full flow. His sails are nearly always bellowed with a good stiff breeze which is further emphasised by the spray of the water being wisped across the top of the choppy seas beneath atmospheric skies.

Henry Scott • Frisco Bound the Mighty Red Cloud British, (1911-2005) • Oil on Canvas • 28” x 42”, 71 x 107 cms • Price Code D

In 1970 Scott was commissioned to paint “Morning Cloud” which was skippered and owned by the then Prime Minister, The Right Honourable Edward Heath P.C., M.B.E., M.P. Scott exhibited at the Society of Marine Artists, The Royal Exchange, London, The Guildhall, London and the Royal Academy, London. He also exhibited at the St. Malo Museum, France and at Madison Square in New York. He was honoured as a Fellow of the Royal Society of Arts and awarded an honorary Life Member ‘Cape Homers’ by the International Association of Master Mariners.

Henry Scott • Golden Fleece British, (1911-2005) • Oil on Canvas • 28” x 42”, 71.5 x 106 cms • Price Code D

Roger Chapelet • Sir Lancelot downstream on the Thames French, (1903-1995) • Oil on Canvas • 24” x 36”, 61 x 92 cms • Price Code C

George Shaw was born in Glasgow in 1929. In 1947 Shaw abandoned a future in the merchant service when he earned a place at the Wimbledon College of Art, at that time a primary school for painters. Four years at the School provided a good grounding in academic painting from which Shaw launched his career. He was a qualified teacher of landscape and portrait painting and gave demonstrations for many societies. Many of his landscapes were painted under the pseudonym of James Shearer. Shaw’s family held long connections to the sea. His grandfather was Captain of a ship that plied between Greenock and the China Seas and which tragically wrecked off the West Coast of Ireland, drowning the Captain. Shaw’s uncle was Chief Engineer on the Cunard Liner, Campania, and there has always been a member of the family at sea. His first love was the sea and sailing craft, and his attitude to marine painting was one of strict realism and accuracy.

George Shaw • The Yorkshire British (1929-1989) • Oil on Canvas • 20” x 30”, 51 x 76 cms • Price Code C

ARTHUR J. MEADOWS Born within a family of painters, Arthur Joseph Meadows may rightly be considered the leading member of this prodigious and prolific group. His father James Meadows, Sr. instilled in him a technical appreciation for accurate coastal views of Europe, and young Arthur set out to see and paint as many as he could find. Travelling extensively throughout England, Holland and France, Meadows also took to the Mediterranean Ocean and the various sights and locales of Italy, Greece and the islands. He excelled in capturing local color and detail all within a soft, subtle palette that offers peaceful realism and emotional content to his artworks. Meadows was very successful financially with his art in his lifetime and gifted works to many private individuals and other artists that he befriended. His upper society lifestyle enabled him to be quite active in early humanitarian efforts, and he was involved in the British and Foreign Anti-Slavery Society in the mid-Victorian Age.

Arthur J. Meadows • Amboise On The Loire British, (1843-1907) • Oil on canvas • 24" x 36", 61 x 91 cms • Price Code D

David Mynett • Evening Flags, Piccadilly British, (1942-2014) • Pastel • 12" x 9”, 30 x 23 cms • Price Code A

William Wiehe Collins

• Ludgate Hill and St. Paul’s Cathedral

British, (1862-1951) • Watercolour • 23” x 18”, 59 x 46 cms • Price Code E

Stafford Plant • Winter’s Royal Mantle Canadian, (1914-2000) • Oil on Canvas • 20” x 24”, 51 x 61 cms • Price Code B

George Leon Little • A Fall of Snow British, (1862-1926) • Oil on Panel • 16" x 18", 40 x 46 cms • Price Code B

David Shepherd • Maternal Instinct British, (born 1931) • Oil on Canvas • 15” x 24”, 38 x 61 cms • Price Code E

David Shepherd • Angry Bull, 1967 British, (born 1931) • Oil on Canvas • 20” x 30”, 50 x 76 cms • Price Code F

THOMAS GAINSBOROUGH Lord Rodney (1718-1792) was one of Britain’s gratest Naval Commanders with major victories over the French and Spanish fleets both in Europe and the West Indies. His tactical acumen was generally acknowledged to be ahead of the time proven by the “breaking of the lines” of the French fleets at the Battle of Saintes. A tactic subsequently used by Lord Nelson at Trafalgar. Very little needs to be said concerning this magnificent British artist. He was the most dominant portraitist of his time and although he prefered landscape painting was commissioned to paint most of the leading personalities of the period. The Hon. Thomas Harley commissioned Gainsborough to paint a portrait of Lord Rodney in around 1783, towards the end of the Naval Commanders fine career. Harley’s daughter, Anne, had married Lord Rodney’s son George in 1781 and the portrait was intended as a celebration of his family members military prowess. This fine highly finished oil sketch was the preliminary study for the larger finished portrait which is now in Earl of Rosebery Collection in Dalmeny, Scotland. Aside from the pentiments around the outstretched hand, the present picture closely predicts the final canvas. Gainsborough frequently used these small, but fully worked up studies as a means of exploring more complicated full-length compositions.

Thomas Gainsborough • Portrait of George Brydges Rodney, 1st Lord Rodney (1718 – 1792), Admiral of the White 1782 British, (1727-1788) • Oil on Canvas • 24" x 15.5", 61 x 40 cm • Price Code F

Carl Zewy • Storytime Austrian (1855-1929) • Oil on Canvas • 30” x 20”, 76 x 51 cms • Price Code D

Ernst Nowak The Prospect of a Good Meal

Sipke Kool Tea time

Austrian, (1853-1919) Oil on Panel 12” x 11”, 30.5 x 29 cms Price Code C

Dutch, (1836-1902) Oil on Panel 11” x 9”, 29 x 23.5 cms Price Code B

Willem Hendriks • Summer in Holland Dutch, (1888-1966) • Oil on Canvas • 19.5" x 23.5", 50 x 60 cms • Price Code B

Douglas Falconer On the River Tweed near Lyne, Peebleshire British, (1913-2004) Oil on Canvas 20" x 30", 51 x 76 cms Price Code C

Horace Henry Cauty Noon Painted in 1880

British, (1846-1909) Oil on Canvas 12" x 23.5", 30 x 60 cms Price Code B

LÉON L'HERMITTE Léon L'Hermitte was born in the Aisne region of France and lived there until he was about twenty. He came from a humble family which explains his deep attachment to rural life in his work. His paintings, pastels and drawings focused on the work and daily life in the countryside of his time and were executed in L'Hermitte’s distinctively naturalistic technique and with the precise rendering of the tiniest details and accurate colouring. In 1863 he went to Paris as a pupil of the École Impériale de Dessin, where he was taught by Lecoq de Boisbaudran, who also taught Auguste Rodin. Early in his artistic career, L'Hermitte earned his living with minor engraving work and it was shortly after beginning his artistic training that one of his drawings was admitted at the Salon in Paris; his first painting was accepted in 1866. In that same year he was invited to illustrate Frédéric Henriet's book, Paysagiste aux champs. In 1869 he went to London where he met Alphonse Legros, who eventually introduced him to the art dealer Paul Durand-Ruel who later went on to sell L'Hermitte’s paintings at his New Bond Street gallery. From 1874 onwards, L'Hermitte won recognition at the Paris Salon with his large paintings depicting the life and people of his native village of Mont-Saint-Père. He was greatly admired by fellow artists, including Auguste Rodin, Vincent van Gogh and Puvis de Chavannes. L'Hermitte was awarded many notable commissions by the French Government, one in particular was the decoration of the Salle des Commissions in the Sorbonne, and later in his career he went on to execute a monumental market scene for the Hôtel de Ville in Paris. At the Exposition Universelle of 1900 in Paris, L'Hermitte exhibited seven paintings. He was later created officer of the Légion d'Honneur, and in 1905 he became a member of the Académie des Beaux-Arts. After the Great War his health, which had never been very good, deteriorated and made it very difficult for him to continue his work, however L'Hermitte continued to execute some pastels depicting scenes of rural life until his death in 1925.

Léon Augustin L’Hermitte • Washerwoman in a Sunlit Yard French, (1844-1925) • Pastel • 11” x 13”, 30 x 34 cms • Price Code D

Pierre Carrier-Belleuse • Resting Ballerinas French, (1851-1932) • Pastel • 21” x 18”, 54 x 46 cms • Price Code C

Pierre Carrier-Belleuse • The Dance French, (1851-1932) • Pastel • 18” x 21”, 46 x 54 cms • Price Code C

Painting Perfection

CLAUDE MONET Painted in 1883, Le Chemin de Halage à Granval is one of the earliest pictures that Claude Monet made after moving to his now legendary home at Giverny. This picture has a distinguished history: it was owned by Jean d'Alayer and his wife Marie-Louise (née Durand-Ruel), who had amassed a formidable range of Monet's works. In Le Chemin de Halage à Granval, the incredible atmosphere of stillness and timelessness is deliberately punctuated by the presence of the boat in the background, which in fact re-inforces the idea that this picture shows a fleeting moment, giving a vivid sense of time passing while also leading the eye into the composition and lending a sense of scale to this sweeping vista. The present painting is the only picture that Monet made showing this view, facing upstream from the tow-path of the title towards the islands of Port-Villez. It has been pointed out that Monet would have had to cross the Seine to reach this spot, the catalogue raisonné also points out that what Monet referred to as 'Granval' is in fact Le Grand Val. This picture and the other works that Monet created during this period reveal Monet's great enthusiasm for the landscape surrounding his new home at Giverny, near Vernon. According to the memoirs of his stepson, Jean-Pierre Hoschede, Monet set out both by train, looking for suitable villages by travelling along the route between Gisors and Vernon, and by foot, by following the banks of the Seine. Clearly, Monet was already attracted to the area where he would set up his home for the rest of his life and near where he would soon paint Le Chemin de Halage à Granval.

Claude Monet • Le Chemin de Halage à Granval French, (1840-1926) • Painted in 1883 • Oil on Canvas • 25 5/8” x 31 7/8”, 65 x 81cms • POA

PABLO PICASSO By combining the spatial ambiguities of Synthetic Cubism with the hyperbolic contortions of Surrealism, Picasso created a rich picture puzzle in this 1927 oil, Guitare Accrochée au Mur. The instrument is identifiable by the vertical lines of the strings, the round sound hole in the center, and the horizontal frets on the neck that culminate in two circular tuning pegs. The guitar is spliced into sections and interspersed with the wallpaper and moulding. Guitare Accrochée au Mur stands out among Picasso's guitars of this period because of its anthropomorphic quality. The sound hole resembles an eye, and the sickle-shaped middle section of the guitar recalls the distorted heads and vagina dentata silhouettes Picasso painted at this time, particularly those inspired by his wife Olga. In 1927, Picasso was at the height of his Surrealist stage. He had met André Breton not long before the writer published the first Surrealist manifesto in 1924, citing Picasso as a forefather of the new movement. Like the Surrealists, Picasso bucked conventions in his daring experiments with form and technique, but his aims were completely different from those Breton espoused. Picasso's art was inspired by what he saw around him, whereas the Surrealists explored the fantastical realms of the subconscious and dreams. Picasso's work of this period also reflects the upheaval in his personal life. He felt trapped in his marriage to Russian dancer Olga Khokhlova and expressed his frustration with dry brushwork and twisted forms, as seen here. In January 1927, right around the time he painted this picture, Picasso met his next great love, Marie-Thérèse Walter. Guitare Accrochée au Mur teeters on the brink of the major shift in Picasso's style fueled by his passionate affair with Marie-Thérèse. Picasso's biographer John Richardson notes that, "As he had done with his beloved Eva in certain cubist paintings, he transforms Marie-Thérèse into a stringed instrument: often into the videogram of a guitar hanging on a wall.” Throughout his career, the guitar was one of Picasso's primary motifs. He not only associated the instrument with the curves of a woman's body but also with his Spanish heritage. Picasso's lover during his early Cubist stage, Fernande Olivier, wrote in her memoirs, "What [Picasso] did like was the guitar, guitarists, Spanish dancing and gypsy dancers - everything that reminded him of his own country.” In Spanish culture, guitars hang above the hearth, and Picasso continued this tradition in his studios, always working among the stringed instruments that figure so prominently in his oeuvre. Between 1934 and 1945, Guitare Accrochée au Mur was included in several exhibitions of the collection of Hugh Willoughby, an Englishman from Hove who amassed "one of the best Picasso collections in the country," according to the Birmingham Evening Dispatch in 1937. In the catalogue for the 1945 exhibition, critic Robert Melville interpreted this painting as "Cubism in the service of a romantic mood. The texture of the paint and the soft browns and greens suggest evening light and reverie. The subtle interpenetration of wallpaper and guitar, and the intervention of an extra piece of wallpaper, tilted, angular and faintly receding, create a spatial ambiguity which is a kind of visual equivalent to time confusions in the memory.”

Pablo Picasso • Guitare Accrochée au Mur Spanish, (1881-1973) • Painted in 1927 • Oil on Canvas • 32” x 32”, 81.5 x 81.5cms • POA

JOAN MIRÓ Joan Miró’s Bon Cop…De Luna is a striking example of the artist’s mature work, characterized by both the black outlines and the thick applications of black ink. The dynamism of the present work – where moon and stars are set against a blank background with ink spatter reminiscent of the abstract expressionists – fully captures the energy and boldness that Miró embraced in the last decade of his life. On June 18th 1978, in an interview with Santiago Amón, discussing recent works on canvas Miró stated, ‘I painted these paintings in a frenzy, with real violence, so people will know that I’m alive, that I’m breathing, that I still have a few more places to go. I’m heading in a new direction’. Joan Miró ranks among the most important artists of the 20th century. An inventive and imaginative painter, sculptor ceramicist and printmaker, he changed forever the course of modern art. Although he derived his own visual vocabulary from nature, his works are frequently viewed as interesting abstract compositions, an effect that is enhanced by his vivid palette. More than any of his contemporaries, Miro’s iconography forms a bridge between figurative and abstract imagery, and had a profound influence on succeeding generations of artists. Miro’s sparsely ordered lyrical canvases of the 1920’s and 30’s catapulted him to the fore of the Surrealist movement. A classification that persists yet he and his work stand apart as unique. Miró often worked with a somewhat limited palette, yet the colours he used were bold and expressive. His chromatic explorations, which emphasised the potential of fields of unblended color to respond to one another, provided inspiration for a generation of colour field painters. Bold, black strokes coupled with his iconic starbursts and use of primary colours make his works instantly recognisable. For Miró, the peasant working the land came to stand for an ageless knowledge that was both natural and particular to the place – a sign, in a sense, of identity. The blue crescent moon, the stars and the barretina (a traditional red cap), above all, reminiscent of his time in Catalan. Miró balanced the kind of spontaneity and automatism encouraged by the Surrealists with meticulous planning and rendering to achieve finished works that, because of their precision, seemed plausibly representational despite their considerable level of abstraction.

Joan Miró • Bon Cop…De Luna Spanish, (1893-1983) • Executed in 1979 • Gouache, pencil and felt tip pen on a lithographic base • 40 1/2” x 28 5/8”, 103 x 72.8cms • POA

ALFRED SISLEY The present landscape painting depicts the countryside at Bougival, a picturesque suburban enclave in the lush valley of the Seine, less than twenty kilometers west of Paris. The canvas was painted in 1876, when Sisley was living in nearby Marly-le-Roi. Both Sisley and Monet had settled in Bougival in the late 1860s; Renoir had visited the town frequently during the summer of 1869, painting alongside Monet at the popular bathing establishment, La Grenouillère. When the Franco Prussian War broke out in the autumn of 1870, Sisley took refuge in Paris, and Monet fled Bougival for England. Sisley's house at Bougival was pillaged by the Prussian army, and the contents of his studio were largely destroyed. When Sisley and his family returned to the Seine valley late in 1871, they joined Pissarro at Louveciennes rather than returning to Bougival; in the first weeks of 1875, they moved to Marly-le-Roi, where they remained for the next two and a half years. It was in this period that Sisley painted of some of his greatest landscapes. The Seine between Bougival and Port-Marly was a favorite motif for Sisley throughout the 1870s. He was particularly interested in the economic life of this stretch of the river, which included a wash-house and a paper mill; in three canvases from 1875, he depicted men dredging sand from the bottom of the river to provide a clear channel for commercial barge traffic traveling between Le Havre and Paris. The present landscape, in contrast, is an inland rural scene, representing the gently rolling fields on the outskirts of town. Sisley most likely painted the canvas in the very early spring. The trees are still completely bare, and the fields are muddy from the recent thaw, with just a few patches of green visible in the distance. The winter of 1875-1876 had been particularly long and cold in both Paris and the neighboring suburbs. Despite the inclement weather, Sisley managed to work extensively en plein air, painting more than a dozen snowscapes near his house at Marly. In March of 1876, around the same time that he painted the present canvas, he produced six views of the extensive springtime flooding at Port-Marly, a series which Christopher Lloyd has described as "one of the touchstones of Impressionism". The first owner of the present painting was Jules Feder, the head of the Union Générale bank in Paris and an important early collector of Impressionist art. In 1880, Feder advanced a great deal of money to Paul Durand-Ruel, enabling the dealer to resume purchasing work from the Impressionists after a hiatus of five years. Immediately upon receiving Feder's support DurandRuel acquired thirty-six paintings from Sisley. The next year, he began once more to make regular purchases from Monet, Renoir, and Pissarro as well. In February 1882, however, Union Générale collapsed triggering a general recession, and Feder was ruined. Durand-Ruel had to pay the banker back all the money that he had advanced, and there followed an extremely precarious few years for the artists whom Durand-Ruel had supported, particularly Sisley and Pissarro. For the next several years Durand-Ruel was compelled to cut back on his advances to the Impressionist painters, and reduce the prices he paid for their paintings during this period; Sisley was especially hard-pressed to make ends meet.

Alfred Sisley • Bougival French, (1839-1899) • Painted in 1876 • Oil on Canvas • 18.5” x 25.5”, 49.5 x 64.8cms • POA

PIERRE-AUGUSTE RENOIR Pierre-Auguste Renoir's Portrait de Bébé was executed in 1878 and is a fantastic showcase of the artist's skills both in the realm of portraiture and of pastel. This picture, which was owned by the French writer Alphonse Daudet, a friend of the artist, is believed to show his son, Lucien, who would also become prominent in literary circles, becoming a friend of Marcel Proust and Jean Cocteau alike. The Daudet family comprised several literary talents and characters: Lucien's brother Léon was also a writer. It was through the salon of Georges Charpentier that Renoir had come to know Alphonse Daudet, and he is ranked among the great conversationalists at the artist's table in the reminiscences of his son, Jean. Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of colour, so that his figures softly fuse with one another and their surroundings.

Pierre-Auguste Renoir • Portrait de Bébé (Lucien Daudet) French, (1841-1919) • Executed in 1878 • Pastel on Paper • 20.75” x 16.75”, 52.9 x 42.5cms • POA

Stewart Lees Olives in a white bowl British, (Contemporary) Oil on Panel 5” x 7”, 13 x 18 cms Price Code A

CHELSEA FLOWER SHOW 24 - 28 May 2016 The Royal Hospital, Chelsea – Stand SR10 Apply to the RHS early for tickets so as not to be disappointed.

Auguste Bouvard Vue de Venise French, (1882-1956) Oil on Canvas 19.5” x 25”, 50 x 65 cms Price Code D

THE PAGEANT OF VENICE

15 -29 January 2016 Gladwell & Patterson 5 Beauchamp Place, London, SW3 1NG Preview Thursday 14 January 2016

INDEX Jules Ausset

p.57

Léon L'hermitte

p.84-85

André Barbier

p.58-59

Gustave Loiseau

p.34-37

Nick Bibby

p.10-11

Maurice Martin

p.40-41

Auguste Bouvard

p.54-55

Karl Martens

p.8-9

Paul S. Brown

p.28-29

Arthur J. Meadows

p.70-71

Pierre Carrier-Belleuse

p.86-87

Joan Miró

p.94-95

Horace Henry Cauty

p.83

Claude Monet

p.90-91

Roger Chapelet

p.68

Ronny Moortgat

p.26-27

Victor Charreton

p.38-39

David Mynett

p.72

William Wiehe Collins

p.73

Ernst Nowark

p.81

Pierre de Clausade

p.60-61

Pablo Picasso

p.92-93

Montague Dawson

p.65

Stafford Plant

p.75

Douglas Falconer

p.83

Aris Raissis

p.12-13

Donald Hamilton Fraser

p.62-63

Pierre-Auguste Renoir

p.98-99

Thomas Gainsborough

p.78-79

Georges Charles Robin

p.42-49

Derek G. M. Gardner

p.64

Henry Scott

p.66-67

Raphael Gasperi

p.56

George Shaw

p.69

Simon Gudgeon

p.18-19

David Shepherd

p.76-77

Willem Hendriks

p.82

Alfred Sisley

p.96-97

Alexandre Louis Jacob

p.50-53

Martin Taylor

p.22-23

Clarissa James

p.30-31

Peter van Breda

p.24-25

Sipke Kool

p.81

Pieter Wagemans

p.16-17

Stewart Lees

p.14-15

Edward Waites

p.20-21

George Leon Little

p.75

Carl Zewy

p.80

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