Gladwell & Patterson | Winter 2016 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

Painting the Present Sculpture Painting the Past Painting Perfection Toby Wright Arctic Explorations

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Winter Collection 23 November 2016 – 20 January 2017 Who can believe it has now been four years since our move to Beauchamp Place? At the time it was a huge leap of faith after so long in the City and the West End, and yet fortune has shone upon us and our new home here has been very kind to us. We have recently agreed to a new lease for these beautiful premises which will take us through until 2025, and we couldn’t be happier or more optimistic about the future of our historic gallery. The success of the business here has given us the inspiration and confidence to continue to grow and increase the breadth of our collection, and in these uncertain political times people are increasingly taking refuge in beautiful works of art both financially and as an escape. Indeed, the uncertainty in the currency markets is producing some very good opportunities to acquire some incredible works of art. If you are searching for inspiration, then we take pleasure in drawing your attention to some of the highlights of our Winter Collection, which must include – The rare oil by Sir Winston Churchill. Depicting a view from the Miami Beach area, it was painted during his first holiday after World War II when he was staying with Colonel Frank W. Clarke. Our charming collection of works by David Shepherd. A great champion of conservation, and the best wildlife artist of his generation, this small group of paintings gives an inkling of David’s passion for these animals which he has worked so earnestly to help protect. Toby Wright Arctic Explorations. Recently returned from a quest to capture the dramatic scenery of the Polar Ice Caps, Toby hopes to inspire a greater appreciation and love of the arctic and an awareness of the effects of climate change through his spectacular paintings. We welcome back to these shores our friend Paul S. Brown. Paul and his family have moved back to Dorset from his native North Carolina, and he has spent the past few months capturing the warm light of the English summer. We are delighted to introduce the newest member of the gallery, Emily Campin. Emily comes fresh from an Art History degree at Nottingham University and her enthusiasm and knowledge have ensured that she has moulded seamlessly and quickly into our close knit team. A team where this month, Marie-Claire celebrated ten years with the gallery. A decade which has seen the gallery strive and prosper and that is in no small part to Marie-Claire’s contribution. We look forward to many more enjoyable and successful years together. Do feel free to pop in and share a festive drink with us all and enjoy the gallery and the collection. We look forward to welcoming you and wish you a very Happy Christmas. The G&P team

Painting the Present

Peter van Breda St. Martin in the Fields, London British, (Contemporary) Oil on Canvas 21” x 25”, 54 x 65 cms Price Code B

Peter van Breda Piccadilly Circus in the Snow, London British, (Contemporary) Oil on Canvas 21” x 25”, 54 x 65 cms Price Code B

Peter van Breda St. Paul’s from the Millennium Bridge, London British, (Contemporary) Oil on Canvas 21” x 18”, 55 x 46 cms Price Code B

Peter van Breda • Evening Light, The Grand Canal towards The Salute, Venice British, (Contemporary) • Oil on Canvas • 32” x 40”, 80 x 100 cms • Price Code C 10

Peter van Breda • Triptych: San Marco, Venice British, (Contemporary) • Oil on Canvas • 18" x 10", 46 x 27 cms each • Price Code B 11

Martin Taylor Snow up on the Top Ridge British, (Contemporary) Oil on Canvas 12” x 12”, 30 x 30 cms Price Code B

Martin Taylor Early Morning, Hanging Houghton British, (Contemporary) Oil on Canvas 8” x 10”, 20 x 25 cms Price Code A

“Coming early to the studio one bright but cold morning in October there had been a heavy frost. The fields were transformed as if the legendary Jack Frost had painted the grasses and hedgerows with his brush of ice. The low sun was rising in the sky and I knew as time progressed that the frost would melt but for now I held my breath as I walked around the headland. Crunching underfoot, it was as if the world was in reverse. Dusted white grasses, the trees silhouetted yet caught by the light, colour muted yet there was a warmth as I looked into the distance with a new day dawning. Every step revealed new pictures, this was a morning where there were paintings everywhere.”

Martin Taylor • Early Morning Frost British, (Contemporary) • Oil on Canvas • 14” x 24”, 35.5 x 61 cms • Price Code B 13

Ronny Moortgat • A Storm Building Up Belgian, (Contemporary) • Acrylic on Canvas • 15” x 31”, 40 x 80 cms • Price Code C 14

Ronny Moortgat Highland Forest Belgian, (Contemporary) Acrylic on Canvas 27” x 39”, 70 x 100 cms Price Code D

Ronny Moortgat Dartford Belgian, (Contemporary) Acrylic on Canvas 19” x 27”, 50 x 70 cms Price Code C

Pieter Wagemans Dutch Tulips Belgian, (Contemporary) Oil on Canvas 8” x 12”, 20 x 30 cms Price Code B

Pieter Wagemans White Tulips in a Glass Vase Belgian, (Contemporary) Oil on Canvas 15" x 19", 38 x 48 cms Price Code C

Pieter Wagemans • Peonies and Roses Belgian, (Contemporary) • Oil on Canvas • 16” x 16”, 40 x 40 cms • Price Code C 17

Paul S. Brown • Give You Joy of the Season American, (Contemporary) • Oil on Panel • 20” x 26”, 51 x 67.5 cms • Price Code D 18

Paul S. Brown • A Moment to Savour American, (Contemporary) • Oil on Canvas • 18” x 30”, 46 x 77 cms • Price Code D 19

“My paintings invariably start with one object. In the case of ‘Ready for Planting’ it was a piece of wood. It was weathered and gnarled, with peeling paint in tones of blue and grey. These tones and textures led me to the silver grey leaves of the curry plant, to the weathered patina of the clay pots, and the crinkled manila envelope of broad beans. To plant broad beans requires twine and twine requires scissors. Each object that I add to a composition seems to suggest the next. My other two most recent paintings, ‘Lemon and Thyme Vinaigrette’ and ‘Chopped Chives’ evolved in the same way. Lemon suggested garlic which seemed to lead inevitably to thyme and then to olive oil. The shape and texture of the pretty pink flowers of the chive plant first caught my eye and led me to the glass carafe that I had picked up in a French brocante. The bunch of chives, the bowl and herb cutter then seemed inevitable to complete the composition.”

Stewart Lees Sage in Clay Pot British, (Contemporary) Oil on Panel 9” x 7”, 24 x 18 cms Price Code B

Stewart Lees • Ready for Planting British, (Contemporary) • Oil on Panel • 15” x 19”, 40 x 50 cms • Price Code C 21

Stewart Lees Three Cherries British, (Contemporary) Oil on Panel 4” x 6”, 10 x 15 cms Price Code A

Stewart Lees Strawberries in a Green Bowl British, (Contemporary) Oil on Panel 5” x 7”, 14 x 18 cms Price Code A

Stewart Lees Lemon, Thyme and Vinaigrette

Stewart Lees Chopped Chives

British, (Contemporary) Oil on Panel 12” x 16”, 30 x 40 cms Price Code B

British, (Contemporary) Oil on Panel 16” x 16”, 40 x 40 cms Price Code C

Paul Czainski Beetles

Walter Dolphyn Teddy Bear

British, (Contemporary) Acrylic, gold and silver leaf and pearlescent pigments on paper 6” x 10”, 15 x 25.5 cms Price Code B

Belgian, (Contemporary) Oil on Panel 4” x 2”, 10 x 6.5 cms Price Code A

Walter Dolphyn • It’s going to be a real swell Christmas! Belgian, (Contemporary) • Oil on Panel • 7” x 10”, 19 x 25 cms • Price Code B 25

Karl Martens Downy Woodpecker

Karl Martens Fieldfare

Swedish, (Contemporary) Watercolour 22” x 15”, 56 x 38 cms Price Code B

Clarissa James • Freedom German, (Contemporary) • Oil and Gold Leaf on Canvas • 33” x 55”, 85.5 x 140 cms • Price Code E 27

Ewoud De Groot Snowy Owl Dutch, (Contemporary) Oil on Linen 27” x 55”, 70 x 140 cms Price Code C

Ewoud de Groot lives and works in Egmond aan Zee, a coastal village in the Northern Netherlands. He began illustrating nature books for a period before pursuing painting full-time in 1999. Today, de Groot is recognized as a rising star in wildlife painting, bringing a truly unique perspective to the genre. His work strives to find both a balance and tension between the representational and the abstract, the traditional and the contemporary. For de Groot, painting wildlife is not an exercise in rendering all the painstaking details. Instead, his work is an ongoing experiment of composition, colour, and technique, concerned with conveying a sense of mood and atmosphere found in the natural world.

Ewoud De Groot Snow Geese Dutch, (Contemporary) Oil on Linen 39” x 39”, 100 x 100 cms Price Code C

Ken Carlson • Polar Ice Pack American, (Contemporary) • Oil on Board • 20” x 40”, 51 x 102 cms • Price Code E 29

Susan Ryder • The Abundant Greenhouse British, (Contemporary) • Oil on Canvas • 25” x 34”, 64 x 86 cms • Price Code B 30

Kenneth Webb Welcome Irish, (Contemporary) Oil on Canvas 10” x 12”, 25 x 30 cms Price Code B

Kenneth Webb Tapestry Irish, (Contemporary) Oil on Canvas 10” x 14”, 25 x 35.5 cms Price Code B

Aris Raissis • Vivaldi's Masquerade Greek, (Contemporary) • Oil on Canvas • 36" x 48", 91.5 x 122 cms • Price Code E 32

Aris Raissis A Greek Beauty Greek, (Contemporary) Sepia heightened in white chalk 13” x 9”, 33 x 23 cms Price Code B

Sculpture

Simon Gudgeon Bourrée

Simon Gudgeon Celeste

Simon Gudgeon Retiré

British, (Contemporary) Bronze (Edition of 12) 23” x 9” x 4”, 60 x 23 x 12 cms Price Code C

British, (Contemporary) Bronze (Edition of 12) 22” x 12” x 7”, 63 x 31 x 18 cms Price Code C

British, (Contemporary) Bronze (Edition of 12) 23” x 5” x 4”, 60 x 14 x 12 cms Price Code C

Simon Gudgeon Tiger Skull British, (Contemporary) Bronze (Edition of 9) 7” x 13” x 9”, 19 x 33 x 23cm Price Code C

Simon Gudgeon Kinetic Hummingbird British, (Contemporary) Bronze and Stainless Steel 43” x 31” x 13”, 110 x 80 x 32 cms Price Code C

Simon Gudgeon Bird of Happiness

Simon Gudgeon Reflection

British, (Contemporary) Bronze (Edition of 50) 13” x 9” x 3”, 33 x 22 x 8 cms Price Code B

British, (Contemporary) Bronze (Edition of 50) 13” x 6” x 3”, 33 x 16 x 8 cms Price Code B

Nick Bibby Wren II British, (Contemporary) Silver on a Bronze Base (Edition of 25) 13” x 5” x 5”, 33 x 13 x 13 cms Price Code C

Nick Bibby Emperor Penguin British, (Contemporary) Bronze (Edition of 12) 65” x 24” x 24”, 165 x 61 x 61 cms Price Code F

Nick Bibby • Indian Rhino British, (Contemporary) • Bronze (Edition of 12) • 15” x 30” x 25”, 38 x 76 x 64 cms • Price Code E 42

Nick Bibby • Devon and Cornwall Longwool Ram British, (Contemporary) • Bronze (Edition of 12) • 12” x 12” x 8”, 30 x 30 x 20 cms • Price Code D 43

Edward Waites Charging Hippo British, (Contemporary) Bronze (Edition of 12) 16” x 5” x 8”, 42 x 13 x 21 cms Price Code B

Edward Waites Colt British, (Contemporary) Bronze (Edition of 7) 36” x 30” x 12”, 91.5 x 76 x 30.5 cms Price Code D

Edward Waites Flamingoes British, (Contemporary) Bronze (Edition of 9) 15” x 15” x 8”, 38 x 38 x 20 cms Price Code B

Painting the Past

Gladwells have been championing Charles Perron’s charming paintings since the early 1930’s when we first encountered his work on a visit to the Salon des Artistes Francais for their Summer Exhibition in Paris. Herbert Fuller was so enchanted with the captivating depictions of rural French life, be they the intimate cottage scenes, the delicate still lifes or the beguiling nudes, that he travelled to meet Charles at his studio in Nantes. The two gentlemen hit it off and there began a rewarding lifelong friendship which has extended between the families through the generations. His studio was an ethereal and joyful place, full of light and beauty, and it is through Charles’ faultless technique and highly developed technical skills that he was able to translate all of this onto his canvases. With pure lines, reminiscent of Raphael and Michelangelo, and with compositions which draw comparisons from Chardin, Charles’ paintings drew acclaim from his peers, his patrons and indeed from the French establishment who awarded him many honours. Of these the Gold Medal at the Salon in 1928 stands out. ‘No collection is complete without a painting by this most talented of artists’, so thought the curators of the museums at Rennes, Nantes, Cambrai, St. Nazaire, and the National Museum of Modern Art in Paris, to name but a few, and we wholeheartedly agree with this rationale. As you can see from this small collection of Charles’ paintings that we are lucky enough to have in the gallery, he had a complete mastery of shape and of delicate hues, a wonderful sense of design and an expert command of his chosen medium. They bring a sense of calm and joy to the viewer and their quality simply stands out.

Charles Perron • Monnaie du Pape French, (1893-1958) • Oil on Canvas • 23” x 28”, 60 x 73.5 cms • Price Code E 49

Charles Perron Compositions aux Oeufs I French, (1893-1958) Oil on Panel 5” x 7”, 14.5 x 18.5 cms Price Code B

Charles Perron Cuivre et Oignons French, (1893-1958) Oil on Panel 7” x 9”, 19 x 24 cms Price Code B

Charles Perron Compositions aux Oeufs II French, (1893-1958) Oil on Panel 5” x 7”, 14 x 18 cms Price Code B

Charles Perron La Porte aux Hortensias

Charles Perron La Porte Fleurie

French, (1893-1958) Oil on Canvas 13” x 10”, 40 x 33 cms Price Code C

French, (1893-1958) Oil on Canvas 22” x 18”, 56 x 46 cms Price Code C

Charles Perron • Interieur de Ferme French, (1893-1958) • Oil on Panel • 18” x 21”, 46 x 55 cms • Price Code B 52

Charles Perron • Vase Fleuri French, (1893-1958) • Oil on Panel • 13” x 10”, 35 x 27 cms • Price Code B 53

La Sèvre Nantaise, a tributary of the Loire River, flows through a beautiful valley in Western France, and it was here that Georges Robin was to create some of his most spectacular paintings. Enthralled by the tall mountainous hills which give way to the luxuriant and calm countryside and rolling fields around Nantes, Georges was inspired by the landscape and the real way of life along the river and the potential it offered for his paintings. Painted in the early 1950’s, this magnificent picture is one of the most outstanding and grandest that he ever created. Showing Georges’ complete command over his palette, a skill that was to set him aside from his contemporaries, this masterpiece combines this delicate touch with his vigorous and dramatic brushstrokes and palette knife work. The result is a truly exceptional painting. His manner of building up a picture by small layered touches of pigment even with a very wide brush, as in the case of this picture, create a depth and richness which enchant the viewer, as his composition deftly leads you around the painting. Feted by the French artistic establishment and his many patrons during his lifetime, the multitude of awards that he garnered for his work illustrates the acclaim in which he was held. Recognised as one of the best, if not the best, post-impressionist artist, it is our pleasure to bring this magnificent painting to your attention. One of only two paintings which Georges refused to sell during his lifetime, it is considered to be one of his finest works. - Anthony Fuller

Georges Charles Robin • La Sèvre Nantaise Vue du Chêne (Nantes) French, (1903-2003) • Oil on Canvas • 51” x 63”, 130 x 162 cms • Price Code E 54

Georges Charles Robin La Marché de Pont-Aven French, (1903-2003) Oil on Canvas 18” x 21”, 46 x 55 cms Price Code D

Georges Charles Robin Vallée du Rhône á Châteaubourg French, (1903-2003) Oil on Canvas 15” x 18”, 38.5 x 46 cm Price Code C

Georges Charles Robin • Château de Nemours French, (1903-2003) • Oil on Canvas • 24” x 36”, 61 x 93 cms • Price Code E 57

Hippolyte Camille Delpy • Les Bords de la Seine French, (1842-1910) • Oil on Canvas • 18" x 31½", 46 x 80 cms • Price Code E 58

Albert Lebourg • La Seine au Bas-Meudon, Soleil Couchant French, (1849-1928) • Oil on Canvas • 15” x 24”, 38.5 x 62 cm • Price Code F 59

Can you picture Alexandre Jacob, wrapped up against the cold, sitting on the banks of the Marais with his paints, his palette and his easel? It must have been quite some sight, and it goes someway to explaining the innate drive and passion that artists have for their craft. Jacob used his incredible skill to capture this cold winter’s morning scene, the woodsmen and their trusty shire horses his only companions. The snow clouds drifting away, being chased by the warm rays of the sun as they break through. All around him the air is crisp and clear and the purity of the light as it hits the fresh snow covering, inspiring him to immortalise this incredible scene onto canvas. And what a result we are witness to. Scenes just like this are so typical of Alexandre Jacob. He made his name in the French Salons of the 1920’s and 30’s, where his immense talent was quickly appreciated by his peers and then by the establishment. Several museums were to acquire his work and his fame soon spread throughout Europe and America. It was the early 1950’s when Gladwells was to first see a Jacob painting hanging on our walls, and they have been a highlight of the gallery exhibitions ever since. Frequently his works stand out as the best in a show, and his beautiful paintings always form the cornerstone of any discerning collection.

Alexandre Louis Jacob • Les Giboulées de Neige French, (1876-1972) • Oil on Canvas • 35” x 45”, 89 x 115.5 cms • Price Code E 61

Alexandre Louis Jacob Neige au Marais French, (1876-1972) Oil on Panel 12” x 10”, 30 x 26.5 cms Price Code C

Alexandre Louis Jacob La Fin de la Journée

Alexandre Louis Jacob Tranquil Reflections

French, (1876-1972) Oil on Panel 7” x 6”, 18 x 15.5 cms Price Code B

French, (1876-1972) Oil on Board 9” x 12”, 23 x 30 cms Price Code C

Maurice Martin Le Moulin de Nemours French, (1894-1978) Oil on Canvas 16” x 13”, 41 x 34 cms Price Code B

Maurice Alfred Decamps • Rivière, Les Etannots à Martigues French, (1892-1953) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price Code A 65

Raymond Wintz • Sur le Port de l’île de Batz French, (1884-1956) • Oil on Canvas • 19” x 29”, 50 x 75 cms • Price Code D 66

Raymond Wintz • Les Foins French, (1884-1956) • Oil on Canvas • 23” x 32”, 60 x 81 cms • Price Code D 67

Auguste Bouvard • The Little Venetian Shop French, (1882-1956) • Oil on Canvas • 11" x 13”, 28 x 35 cms • Price Code C 68

Auguste Bouvard Venice from the Lagoon French, (1882-1956) Oil on Canvas 25" x 19”, 64 x 49 cms Price Code E

Jens Christian Bennedsen A Winter Morning Danish, (1893-1976) Oil on Canvas 15” x 19”, 40 x 50 cm Price Code A

Hans Mortensen Agersnap Sunset on a Wintery Day Danish, (1857-1925) Oil on Canvas 15” x 22”, 38 x 57 cm Price Code A

Henri-Jacques Masson • La Poids de la Neige French, (1908-1995) • Oil on Canvas • 19” x 23”, 50 x 60 cms • Price Code A 71

Henry H. Parker • Cleveden on Thames British, (1858-1930) • Oil on Canvas • 24” x 36”, 61 x 92 cms • Price Code D 72

John Clayton Adams • View from Leith Hill Surrey British, (1840-1906) • Oil on Canvas • 22” x 35”, 56 x 89 cms • Price Code D 73

Pierre de Clausade • Pinarello-Corse French, (1910-1976) • Oil on Canvas • 26” x 36 ”, 66 x 93 cms • Price Code C 74

Pierre de Clausade • La Maison du Pecheur French, (1910-1976) • Oil on Canvas • 22” x 40”, 56 x 102 cms • Price Code C 75

Derek G. M. Gardner • Sovereign of The Seas British, (1914-2007) • Oil on Canvas • 30” x 40”, 76 x 102 cms • Price Code E 76

Derek G. M. Gardner • Ten Thousand Miles to Go - Hurunui British, (1914-2007) • Oil on Canvas • 16” x 22”, 40.5 x 56 cms • Price Code D 77

Montague Dawson • Sprinkled Foam British, (1890-1973) • Oil on Canvas • 24” x 36”, 61 x 91.5 cms • Price Code F 78

Montague Dawson • The American clipper Asterion running before the wind on the open ocean British, (1890-1973) • Oil on Canvas • 24” x 36”, 61 x 91.5 cms • Price Code F 79

David Shepherd is regarded by many as being the world’s leading wildlife artist and paintings such as ‘Wise Old Elephant’ have made him internationally famous. He started his artistic career as an aviation artist, and an early commission for the RAF took him to Aden and on to Kenya, a trip that changed his life. Here he had his first demand to paint a wildlife subject and from then he never stopped. David’s personal attachment with the animals of Kenya creates a distinctive style, dissimilar to any other wildlife artist. The impasto brushwork of the foreground landscape highlights the details of the rich African terrain. This textured style of painting compliments the detailed and intricate depiction of the wild animals. The presence of the powerful African animals is softened by the earthy browns and warm, golden colours of the Kenyan sun, which creates a sense of harmony within his paintings. David captures a sense of mutual respect between animal and man, by painting the animals staring directly out towards the viewer, as if to let us know that they know they are being watched. This creates a feeling of recognition and respect between the majestic creatures and the viewer. David’s love of wildlife is apparent in all aspects of his life. In 1984 he established the David Shepherd Wildlife Foundation to fund vital enforcement and community projects that protect wildlife survival in the natural habitat, and has since received many awards for its conservation. At 85, David still lives at a fast pace: he paints every day and continues to donate paintings to wildlife through his Foundation, to pay back “my enormous debt of gratitude to the animals I paint”. We have been very fortunate to be involved with such an inspiring man.

David Shepherd • Bull Elephant by the Baobab Tree British, (born 1931) • Oil on Canvas • 22" x 38", 56 x 97 cms • Price Code F 80

David Shepherd • Elephants in the Bush, Luangwa Valley British, (born 1931) • Oil on Canvas • 24" x 44", 61 x 112 cms • Price Code F 82

David Shepherd Zebras by the Waterhole British, (born 1931) Oil on Canvas 16½" x 28", 42 x 71 cms Price Code F

David Shepherd Hippo British, (born 1931) Oil on Canvas 10" x 16", 25 x 41 cms Price Code E

Dorothea Sharp was a British landscape painter. She studied at the Art School in Richmond under Charles Edward Johnson, and at the Regent Street Polytechnic working under Sir David Murray and George Clausen, and later studied in Paris. In the 1920s and 30s Dorothea Sharp travelled widely in Europe, visiting the South of France, Italy, Spain and Portugal. She worked within the tradition of the French Impressionists, and similarities with Monet can be seen in her treatment of light and colour. 'Playmates' has all the hall marks of Sharp’s ability to capture her subject with freshness and spontaneity. With the brushwork and colour-handling of an accomplished Impressionist, bright sunlight dances across the picture catching the two youngsters on the old wooden jetty and their pre-occupation with the their fishing rod poised in the glittering water. Their anticipation is palpable and provides a real moment in time. As a member of the St Ives School, Sharp embraced their pursuit of light and movement. Her particular skill emerged through the paintings of children in the bright Cornish sunlight, in their quest for adventure and fun. These canvases are brim full of sparkling colours applied with quick and easy brushstrokes, reflecting the playfulness of the young ones.

Dorothea Sharp • Playmates British, (1874-1955) • Oil on Board • 19” x 24”, 48.5 x 60.5 cms • Price Code F 84

Clovis Didier La Lecture dans le Jardin French, (1858-1939) Oil on Canvas 47” x 35”, 121 x 91 cms Price Code E

Helen Allingham • Father's Return British, (1848-1926) • Watercolour • 10½" x 14", 27 x 35.5 cms • Price Code E 87

Painting Perfection

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 • Rue de Clignancourt, Soleil, le Quatorze Juillet, Painted circa 1925 French, (1865-1935) • Oil on Canvas • 25” x 21”, 65 x 54.5 cms • Price Code F 91

For Sisley, the relationship between land, water and sky was a subject of endless fascination and views of rivers surrounded by lush nature account for a large portion of his painterly output. 'Lavandières près de Champagne' is, however, a rare depiction of a landscape animated by a group of washerwomen going about their daily activity by the river bank. The scene was painted near the village of Champagne, a region he would depict again in the 1880s. In choosing the subject of washerwomen, Sisley is drawing from the tradition established by nineteenth-century and Impressionist painters, particularly Renoir, who returned to this theme several times throughout his career. Christopher Lloyd wrote about the stylistic development in Sisley’s painting at this time: ‘The compositions after 1876 tended to become more complex with less emphasis on recession and balance. Instead, the overlaying of the various parts of a composition and the creation of an interlocking pattern began to absorb his attention […]. At the same time, a greater variety enters Sisley’s technique. The short soft-edges square brushstrokes of earlier years that resulted in an even surface on the canvas were replaced by heavily-worked, more intricate textures comprising a large range of brushstrokes. […] Concomitant with these richly textured surfaces was a greater sophistication in the application of colour. The tonal qualities of the paintings of the early 1870s accorded well with Sisley’s composition principles of those years, but now the greater intensity and wider range of colour, as in the work of Monet and Renoir, matched the more agitated character of the brushwork’.

Alfred Sisley • Lavandières près de Champagne, Painted in 1879 French, (1839-1899) • Oil on Canvas • 23” x 28”, 60 x 65.5 cms • Price Code F 92

Monet returned to painting still-lifes periodically throughout his career, executing an array of traditional subjects, the most rare of which are his depictions of game fowl. Although his choice of subject matter followed a tradition of still-life painting that reached its zenith in the 18th century with artists such as Jean-Siméon Chardin and Jean-Baptiste Oudry, Monet’s approach to still life was as innovative as his painting of landscapes thrugh his application of colour in typical short brushstrokes. This is especially true of the present work, particularly his skill in capturing the texture of the birds' feathers. Monet combines this natural display with fluid, broad brushstrokes that lend the painting a remarkable sense of spontaneity and immediacy. Like many of his fellow Impressionists Monet often turned to the still life as a lucrative form of employment. Still lfe painting provided relief from landscape work and offered an alternative activity in poor weather, but above all they were commercially expedient. 'Faisans, Bécasses et Perdrix' is one of the earliest in a series of game bird still-lifes that Monet completed between 1879 and 1882. In the early 1880s both Monet and his dealer Durand-Ruel experienced considerable financial difficulties that were exacerbated by the collapse of the Union Générale bank in 1882. This may have inspired the group of still-lifes that Monet worked on over the course of the year and which kept the artist financially afloat during this difficult time. Indeed, still-life painting was a reliably commercial genre, as many collectors could more readily relate to these traditional subjects than some of the more radically avant-garde Impressionist landscapes produced around the same time. The present work, which exemplifies this principle, was acquired by the collector Theulier in Paris directly from the artist, and remained mostly in private collections before the turn of the century.

Claude Monet • Faisans, Bécasses et Perdrix, Painted in 1879 French, (1840-1926) • Oil on Canvas • 35” x 27”, 89 x 68.5 cms • Price Code F 94

'Dalí’s Buste à Tiroir' is an exquisite example of his breath-taking technical virtuosity and vivid imagination. The ‘drawer’ motif was initially associated with a plaster cast of the Venus de Milo sculpture in the Louvre. Dalí, with the probable assistance of Marcel Duchamp, had transformed it into a supremely surrealist object containing many sets of drawers, the handles of which were covered in ermine. This motif evolved further whilst Dalí was staying in England with Edward James, the first owner of the present work. William Jeffet explains: "At that time his English was practically non-existent, which could account for the misunderstanding that arose upon hearing someone talk of a 'chest of drawers'. In interpreting this quite literally, Dalí in the 'The Anthropomorphic Cabinet', as well as a number of drawings, was to show a reclining woman out of whose chest appeared numerous half-opened drawers’. This humorous aspect of Dalí’s work was nonetheless also founded on his fascination with Freudian analysis and exemplified by the present work —as William Jeffet notes: "the drawers suggest the obscure recesses of the human mind, in the sense of Freud’s conception of the unconscious". The first owner of the present work was the renowned English collector Edward James, who diverted much of his considerable inherited fortune into one of the most important collections of Surrealist art. James befriended many of the Surrealists, including Magritte and Dalí, and was a driving force behind the pivotal 1936 International Surrealist Exhibition held at the Burlington Galleries in London. In the summer of 1936 a contract was drawn up between Edward James and Salvador Dalí. James would receive virtually all of Dalí’s artistic output in exchange for a generous allowance, a deal which lasted until the end of 1938. James did this in the belief that if Dalí was made financially comfortable he would be at liberty to fulfil his creative potential, unhurried and without the demands of the commercial market. Edward James’s Surrealist collection grew to become one of the most impressive in Europe. However, it was not gathered because of a predetermined ambition to do so, rather it grew from his friendship with artists whom he admired and to whom he could afford to offer financial support. Aside from Dalí, other artists such as René Magritte, Pavel Tchelitchew and Leonora Carrington also counted on James’ generosity resulting in some outstanding additions to his collection. During the last decade of his life, James lent many works from his collection to major retrospective exhibitions of Dalí’s work — in some of which 'Buste à Tiroir' was included —such as at the Centre Georges Pompidou in Paris and the Tate in London.

Salvador Dali • Buste à Tiroir, Painted in 1937 Spanish, (1904-1989) • Gouache and pen and brush and ink on paper • 29” x 21”, 73.5 x 53.5 cms • Price Code F 97

“Painting came to my rescue in a most trying time…” - Sir Winston Churchill Churchill first turned to painting at the age of forty. Profoundly depressed, he had resigned as the First Lord of the Admiralty, following the catastrophe of the Dardanelles in 1915. He and his wife Clementine rented a house in Godalming for the summer, where they were visited by his sister in law, Gwendoline, a keen watercolourist. Churchill watched her paint and picked up a brush to join her. It was to painting that Churchill would escape, initially for long hours of unwanted leisure, but later as a great passion in his life. He became close friends with Sir John Lavery and his wife Hazel, who both taught him how not to be intimated by the canvas. He also received practical advice from his friends Walter Sickert and Sir William Nicholson. Churchill painted more than 500 oils during his life, mainly to keep or to give away as gifts. Only a handful were sold. He often referred to his work as "… a joy ride in a paint-box." The subject matter was often based on his private life and the surroundings of Chartwell and his family and friends. He painted the landscape around him and combined a loose brushstroke with a bright palette to create delightful depictions of the scenery that had captured his imagination. The present work was painted whilst Churchill and Clementine spent six weeks in Florida in 1946 – their first extended holiday after World War II. There they stayed at the Miami Beach home of Canadian Industrialist Colonel Frank W. Clarke and Churchill did not hesitate in venturing out to paint the local scenery. Churchill later gave the painting as a gift to Colonel Clarke and his wife.

Sir Winston Churchill • Scene from the Venetian Causeway, Miami Beach Florida, Painted in 1946 British (1874-1965) • Oil on Canvas • 25” x 30”, 63.5 x 76 cms • Price Code F 98

Photo by Christine Bernasconi

100

Toby Wright Arctic Explorations

101

It is Toby Wright’s passionate engagement with the visual world around him that led him to the Elysium Project, the Explorer’s Club Flag supported this expedition to our polar north (Flag 101). In 2015 Wright set out to the Arctic with a team headed by conservation photographer and Explorer’s Club Fellow Michael Aw, and lead scientist Dr. Sylvia Earle, to document its changing landscape as a direct result of global climate change. Toby Wright fell in love with this stunning, pristine wilderness, and is sharing this experience through stunning paintings and engaging lectures. This unique voyage took a total of eighteen days at sea on ‘The Polar Pioneer’. They sailed from Longyearbyen in Norway to the west coast of Iceland, passing the Svalboard Islands, across the arctic seas to the north of Greenland and down the eastern coast of Greenland to their final destination. Wright captured his experiences of this magnificent journey on his website blog and in his remarkable artwork. He commented, “There is a hesitation in writing about such an incredible experience, because words don't seem to do it justice.” In viewing Wright’s drawings, pastels and oil paintings of his Arctic Exploration we can sense the majesty and awe of this unique environment of vast untouched expanses of nature and unfamiliar creatures. Through these works Wright hopes to inspire a greater appreciation and love of the arctic and a greater awareness of climate change. "Aside from the amazing wildlife encounters, I was especially in awe of the glaciers. The silent giants of the north, ever moving, sculpting the mountains around them, and all with a unique pattern of movement and cracking. Some would span 10km, 20km. Some would even stretch over a 100km. The time it takes for the ice to travel all the way down to the sea is estimated in the thousands of years. Some of the small floating blocks we took back to our ship would be as old as 5 thousand years, and our evening drinks tasted extra special.

Photo by Wendy McIlroy

102

As we travelled up Scoresbysund, dozens of glaciers were snaking their way down into the fjord, each one with its own personality. This is largest and longest fjord system in the world, stretching up to 350km. With a little more time than expected, I was able to sketch this snaking glacier in coloured pastels. I’ll take any opportunity to play around with those luminous blue shadows on snow and ice."

Toby Wright • King’s Bay British, (Contemporary) • Oil on Canvas • 19” x 27”, 50 x 70 cms • Price Code C 103

Toby Wright 14th July Glacier British, (Contemporary) Charcoal & white chalk on toned paper 10” x 12”, 25 x 32 cms Price Code A

Toby Wright Glacier in Greenland British, (Contemporary) Charcoal & white chalk on toned paper 10” x 12”, 25 x 32 cms Price Code A

Toby Wright Frambreen British, (Contemporary) Charcoal & white chalk on toned paper 10” x 12”, 25 x 32 cms Price Code A

104

Toby Wright Approaching Pack-Ice

Toby Wright Icebergs in Greenland

British, (Contemporary) Oil on Board 8” x 12”, 20 x 30 cms Price Code A

British, (Contemporary) Pastel on toned paper 10” x 12”, 25 x 32 cms Price Code A

105

Toby Wright Polar Bear Encounter

Toby Wright Polar Bear Sleeping on Pack-Ice

British, (Contemporary) Pastel on toned paper 12” x 10”, 32 x 25 cms Price Code A

British, (Contemporary) Oil on Board 8” x 12”, 20 x 30 cms Price Code A

"We encounter our first bear, in the middle of his lunch. I’m still finishing off an ice view, as I observe this very rare sight. As he settles into a post lunch nap, I grab another board and set up a sleeping polar bear portrait. He soon gets up again, and walks off into the horizon. After our first encounter, we couldn’t believe our luck when a second one approached us in the evening. It had been drawn to the conspicuous silhouette of our ship in this flat ice world, but also by our chef’s dinner preparations."

106

Toby Wright • Ice Road, Lyngefjord British, (Contemporary) • Oil on Panel • 8” x 12”, 20 x 30 cms • Price Code A

"This was painted on my first day in the Arctic, seizing my opportunity to get acquainted with the elements: the light, the temperature, my gloves, my paint in the cold. An old abandoned mining town, Longyearbyen is now the most northern commercial airport in the world. Beyond the town limits is polar bear territory, and my map indicated that border, beyond which you had to carry a rifle for protection." Toby Wright • Longyearbyen Mining Town, Day 1 British, (Contemporary) • Oil on Board 8” x 12”, 20 x 30 cms • Price Code A 107

Toby Wright • Losi, Lyngseide

Toby Wright • Village at Gryllefjord

British, (Contemporary) • Oil on Panel 12” x 8”, 30 x 20 cms • Price Code A

"The winter light in the arctic is soft and and warm, especially in contrast to the overbearing cold blues. Experiencing the arctic in winter is a different story. In February, this is the lightest it gets, and the temperatures plummet as soon as the light fades. A little breeze in this environment feels deadly."

108

Toby Wright • Svitjodbreen Glacier on Fugle Fjord British, (Contemporary) • Oil on Board • 12” x 16”, 30 x 40 cms • Price Code A

"Other than the soft sloshing of sea ice, and the occasional loud crack from ice calving off the glacier front, this was one of the most peaceful places I’ve ever painted in. The largest glacier in north west Svalbard, the intense blues of the ice indicate extreme compression, where air bubbles have been totally squeezed out, allowing this blue glow to occur."

Photo by Alexandra Rose

109

Toby Wright • The Ice Frontier

Toby Wright • Pack-Ice Underwater Glow

British, (Contemporary) • Oil on Canvas 39” x 27”, 100 x 70 cms • Price Code C

British, (Contemporary) • Oil on Canvas 27” x 16”, 70 x 40 cms • Price Code C

"This area offered endless possibilities of abstract compositions. The northern limits offered me the most striking visual experience I think I’ve ever had. I imagine this is the closest I could ever get to experiencing a different planet. All the pieces of ice, in their infinite variety would offer great designs to work from. The weather here would change so quickly: one moment bright sunshine, the next deep in fog. The shifting light would create glowing spots that would dart around unpredictably across this endless white expanse. As we pushed through and broke up ice blocks, we would attract all sorts of birds, that would swoop down to catch all the creatures that would shelter below."

110

Toby Wright • Arctic Sunset British, (Contemporary) • Oil on Canvas • 23” x 31”, 60 x 80 cms • Price Code D

"The winter months are radically different to the summer. An omnipresent coldness is never alleviated with sun rays. Here in February, the sun barely rises. From late morning to early afternoon, you are treated to just 4 hours of a sunrise/sunset, and that’s it. The cold blues, purples and greens are pushed back with just a little warmth from the glowing sky. It is only in these extreme conditions that you realise how much a life giver the sun really is."

111

Kenneth Webb Rockpool, Golden Sunbeam, Connemara Irish, (Contemporary) Oil on Canvas 24" x 36”, 60 x 90 cms Price Code E

Kenneth Webb at 90 12 May - 2 June 2017 5 Beauchamp Place, London SW3 1NG gladwellpatterson.com

Gladwell & Patterson at the Palm Beach Jewelry, Art & Antique Show 15 – 21 February 2017 Palm Beach County Convention Centre www.palmbeachshow.com Contact the gallery for tickets

Donald Hamilton Fraser Seascape Composition No.2 British, (1931-2009) Oil on Paper 12" x 15”, 32 x 25 cms Price Code D

INDEX

John Clayton Adams

p. 71

Stewart Lees

p. 18-21

Hans Mortensen Agersnap

p. 68

Gustave Loiseau

p. 88-89

Helen Allingham

p. 85

Alexandre Louis Jacob

p. 58-61

Jens Christian Bennedsen

p. 68

Maurice Martin

p. 62

Nick Bibby

p. 38-41

Henri-Jacques Masson

p. 69

Peter van Breda

p. 6-9

Claude Monet

p. 92-93

Paul S. Brown

p. 16-17

Ronny Moortgat

p. 12-13

Auguste Bouvard

p. 66-67

Karl Martens

p. 24

Ken Carlson

p. 27

Henry H. Parker

p. 70

Sir Winston Churchill

p. 96-97

Charles Perron

p. 46-51

Pierre de Clausade

p. 72-73

Aris Raissis

p. 30-31

Paul Czainski

p. 22

Georges Charles Robin

p. 52-55

Salvador Dali

p. 94-95

Susan Ryder

p. 28

Montague Dawson

p. 76-77

Dorothea Sharp

p. 82-83

Maurice Alfred Decamps

p. 63

David Shepherd

p. 78-81

Hippolyte Camille Delpy

p. 56

Alfred Sisley

p. 90-91

Clovis Didier

p. 84

Martin Taylor

p. 10-11

Walter Dolphyn

p. 22-23

Pieter Wagemans

p. 14-15

Derek G. M. Gardner

p. 74-75

Edward Waites

p. 42-43

Ewoud De Groot

p. 26

Kenneth Webb

p. 29

Simon Gudgeon

p. 34-37

Raymond Wintz

p. 64-65

Clarissa James

p. 25

Toby Wright

p. 100-109

Albert Lebourg

p. 57

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