Gladwell & Patterson | Summer 2017 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

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Summer Collection 21st July – 24th August 2017 Welcome to our Summer collection. The first half of 2017 has been the most exciting period in the gallery’s long and distinguished history. Our continued focus on superb paintings from the brilliant impressionist and post-impressionist artists that my grandfather and father were so astute in focusing on, has reaped rewards for our clients. Continually on the look-out for fine works for ourselves and for our clients, we have managed to unearth some spectacular paintings in these last few months. In addition, we have seen a tremendous response to our exhibitions both in and out of the gallery, with Palm Beach in February heralding the start of a truly fantastic Spring. Excellent sales in Florida were followed by our wonderfully well received Kenneth Webb 90th Show, which has set a new bench mark for our single artist exhibitions. Illuminating the walls with his resplendent landscapes, the gallery looked fabulous. RHS shows at Chelsea and Chatsworth have rounded off a remarkable six months, with us meeting so many of our valued clients in these wonderful settings. There are not many shows where you can spend a week in the gardens of Chatsworth House soaking up the fascinating history and breathtaking beauty whilst 'working'. We have further exhibitions coming up in Jersey, in the Hamptons and at Masterpiece in London, but in the middle of all of those, and far more importantly we are all incredibly excited about Ella’s wedding to her fiancé James. They make a lovely couple and I’m sure you would all like to join with me in wishing them the very best for a long and happy marriage. Ella has been with the gallery for nearly 5 years now and her impact on the gallery cannot be underestimated. One of her main responsibilities is the production and design of these beautiful catalogues which have reached a new level of excellence with her involvement. This hectic schedule and continued growth of the gallery would not be possible without our incredibly hard-working team in the gallery, and their efforts are always appreciated. They never fail to greet you with a smile and it is their enthusiasm and enjoyment that drive us to new heights. Combined with the efforts of our fantastic team, we have a stable of superb artists whose hard work and talent grace the pages of the ‘Painting the Present’ section of this catalogue. It is a privilege to work with them and their beautiful works of art make our job so very easy. Finally, I would like to thank you all, our valued clients, as it is your continued patronage and trust that allows us to thrive and grow. I do hope you enjoy this selection and we very much look forward to seeing you in the gallery or at one of forthcoming shows. With best wishes, Glenn

Painting the Present

A true Classical Realist, Paul’s focus is on universal beauty. He upholds rigorous standards in pursuit of this, working from life, emulating the techniques and materials of the old masters, painting on linen canvas, preparing his own paints by hand, and carefully selecting pigments and oils to his precise requirements. Paul was apprenticed to D. Jeffrey Mims, before honing his talents at the Cecil-Graves Studio, where his talent as an exquisite draftsman was instantly recognised. Paul’s keen passion for nature is felt throughout his work and the influence of his upbringing, a Huckleberry Finn childhood spent roaming the outdoors in North Carolina and studying the world around him, can be seen in every brushstroke. His perfectly composed works are rich with atmosphere and detail.

Paul S. Brown • Terroir American, (Contemporary) • Oil on Canvas • 27 ” x 35 ”, 70 x 90 cms • Price Code E

Paul S. Brown • Onions on Glass American, (Contemporary) • Oil on Canvas • 17¾" x 31½", 45 x 80 cms • Price Code ?

Paul S. Brown • Rosemary American, (Contemporary) • Oil on Panel • 17 ” x 23 ”, 45 x 60 cms • Price Code D

Pieter Wagemans • Natural Beauty Belgian, (Contemporary) • Oil on Canvas • 18” x 39 ”, 46 x 100 cms • Price Code D

Building on the legacy of the Dutch Masters, Pieter Wagemans’ transcendent still life paintings have propelled the artist to the forefront of contemporary realist painting. Pieter studied at the Royal Academy of Fine Arts in Antwerp and was inspired by the Dutch still life painters David de Heem, Willem Heda and Rachel Ruys. Pieter carefully composes each floral arrangement in his studio in Antwerp. This enables the artist to control the effect of light and the transitory nature of his subjects. Pieter bypasses the use of underpainting and paints each flower in turn, 'alla prima', so that each flower is captured in its prime. Recognisable for the balance of light and shadow within elegantly composed floral vignettes, an exquisite colour harmony and intricate details, Pieter’s work appeals to and resonates with the contemporary collector.

Pieter Wagemans • Magnolia Belgian, (Contemporary) • Oil on Canvas • 15 ” x 17 ”, 40 x 45 cms • Price Code D

Stewart Lees Summer Berries

Stewart Lees Shallots

British, (Contemporary) Oil on Panel 7” x 9 ”, 18 x 24 cms Price Code B

British, (Contemporary) Oil on Panel 4" x 6", 10 x 15 cms Price Code A

Stewart originally pursued a successful career as a graphic designer and illustrator, establishing his own agency in 1985. He still managed to keep up with his painting on weekends and when he moved to rural France he began to paint again every day, teaching numerous classes as well as staging successful exhibitions. In addition to his painting Stewart has also written and illustrated two award-winning children’s books, published both in the UK and the US. Bringing a wealth of experience as an illustrator and painter of landscapes and portraits, Stewart has increasingly come to focus on still life. He is greatly influenced by Dutch 17th-century Still Life artists, and above all by Andrew Wyeth, whose meticulous draughtsmanship and evocation of mood and atmosphere all resonate with Stewart’s own work.

Stewart Lees • The Kitchen Table British, (Contemporary) • Oil on Panel • 23 ” x 31 ”, 60 x 80 cms • Price Code C

Walter Dolphyn • A Beautiful Sunday in the Park (“Hello Neighbour”) Belgian, (Contemporary) • Oil on Panel • 9 ” x 23 ”, 24.5 x 60 cms • Price Code C

Walter Dolphyn • Where’s Wally for Dummies Belgian, (Contemporary) • Oil on Panel • 19 ” x 19 ”, 50 x 50 cms • Price Code C

Walter Dolphyn • Bulldozer N°642 Belgian, (Contemporary) • Oil on Canvas • 25½" x 39½", 65 x 100 cms • Price Code D

Claudia Seymour Au Provence

Claudia Seymour How Bout Them Apples

American, (Contemporary) Oil on Panel 20” x 18”, 51 x 46 cms Price Code B

American, (Contemporary) Oil on Panel 16” x 12”, 41 x 30 cms Price Code B

Working in oil and pastel, Claudia Seymour creates still lifes in the timeless tradition of the Northern European masters but with a modern sensibility. Her objective as a traditional, representational painter is to present the infinite beauty of color in the interaction between light and the scenes and objects she portrays. Claudia works only from life, creating scenes that portray a timeless elegance and serenity through her concentration on radiant light and her choice and arrangement of antiques and ceramics, natural objects, fabrics, flowers and plants, and other materials.

Claudia Seymour • Two Poppies American, (Contemporary) • Oil on Panel • 18” x 24”, 46 x 60 cms • Price Code C

Paul Czainski • Tulip Pinboard British, (Contemporary) • Acrylic on Canvas • 16” x 24”, 41 x 61 cms • Price Code B

Paul Czainski • The Curiosity Box British, (Contemporary) • Oil on Board • 12" x 16", 30 x 41 cms • Price Code B

Inspired by Edward Burne-Jones and the Pre-Raphelites, Clarissa is a classically trained artist with an interest in both the Renaissance and 19th Century techniques of realistic representation. Clarissa is drawn to silence and contemplation and following a trip to the Far East developed a great interest in the simplicity and clarity of Japanese art and design. This combined with her lifelong passions for fabrics, opulent textures and 19th Century aesthetic, results in unique paintings which are rich, meditative and calm. Specific in her craft as an artist, Clarissa grinds her own paints to achieve a more unusual luminosity and texture. Her immaculate use of gold leaf brings a spiritual nature to her work. “Painting to me is the search for beauty and proportion, atmosphere and light - a slow journey into another world."

Clarissa James • Seeds of Light German, (Contemporary) • Oil and Gold Leaf on Canvas • 43 ” x 63”, 110 x 160 cms • Price Code E

Ewoud De Groot • In Flight Dutch, (Contemporary) • Oil on Linen • 43¼" x 43¼", 110 x 110 cms • Price Code C

Ewoud De Groot • Taking Off Dutch, (Contemporary) • Oil on Linen • 43¼" x 43¼", 110 x 110 cms • Price Code C

Ronny Moortgat G D Kennedy Belgian, (Contemporary) Acrylic on Canvas 24” x 36”, 60 x 90 cms Price Code C

Ronny Moortgat Classics on the Wind Belgian, (Contemporary) Acrylic on Canvas 20” x 39 ”, 50 x 100 cms Price Code C

Ronny Moortgat • HMS Bounty in the South Seas Belgian, (Contemporary) • Oil on Canvas • 28” x 39 ”, 70 x 100 cms • Price Code D 27

Martin Taylor • Badby Woods British, (Contemporary) • Oil on Board • 16” x 9 ”, 41 x 25 cms • Price Code B

Martin Taylor April Morning, Brockhall

Martin Taylor Bluebells in Everdon Stubbs

British, (Contemporary) Oil on Board 14” x 10”, 35.5 x 25.5 cms Price Code B

British, (Contemporary) Oil on Canvas 10" x 8", 25 x 20 cms Price Code ?

Peter van Breda • Chelsea Embankment towards Albert Bridge, London British, (Contemporary) • Oil on Canvas • 12” x 35 ”, 30 x 90 cms • Price Code B

Peter van Breda • Breaking Mist, Tower Bridge, London British, (Contemporary) • Oil on Canvas • 19¾" x 39½", 50 x 100 cms • Price Code C

Peter van Breda • Autumn Light, Berkeley Square, London British, (Contemporary) • Oil on Canvas • 31 ” x 39 ”, 80 x 100 cms • Price Code C

Peter van Breda • Dancing Light towards San Giorgio Maggiore, Venice British, (Contemporary) • Oil on Canvas • 31½" x 39½", 80 x 100 cms • Price Code C

Peter van Breda • Evening Light towards Salute, Venice British, (Contemporary) • Oil on Canvas • 21 ” x 25 ”, 54 x 65 cms • Price Code B

Sculpture

Simon Gudgeon Barn Owl on a Sphere British, (Contemporary) Bronze (Edition of 12) 30 ” x 9” x 30 ”, 77 x 23 x 78 cms Price Code E

Simon Gudgeon • Kingfisher British, (Contemporary) • Bronze (Edition of 12) • 37” x 15 ” x 18 ”, 94 x 40 x 47 cms • Price Code C

One of Britain’s leading contemporary sculptors, Simon Gudgeon has a signature smooth style that marvellously concentrates spirit and nature. His minimalist, semi-abstract forms depict both movement and the 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 is best known for his monumental sculpture ‘Serenity’ installed in London’s Hyde Park, and ‘Search for Enlightenment’ installed on the banks of the Thames.

Nick Bibby • Highland Bull (Crubach of Redrullion) British, (Contemporary) • Bronze (Edition of 12) • 6” x 12 ” x 6”, 15 x 31 x 15 cms • Price Code C

Nick Bibby • Black Bear with Honeycomb British, (Contemporary) • Bronze (Edition of 12) • 9” x 8” x 9”, 23 x 20 x 23 cms • Price Code C

Nick Bibby • Herdwick Sheep British, (Contemporary) • Bronze (Edition of 12) • 11” x 12” x 11”, 27.5 x 30 x 27.5 cms • Price Code C

Nick Bibby • Whiteface Dartmoor Sheep (William) British, (Contemporary) • Bronze (Edition of 12) • 9 ” x 9 ” x 9 ”, 23.5 x 24 x 23.5 cms • Price Code C

Painting the Past

Gardner is widely considered to be the leading British maritime painter of the 20th century. Entirely self-taught, he became a master of his art with an unmatched skill for conveying the colour, luminosity and atmosphere of the maritime setting. During World War II, he served with the Royal Navy on armed trawlers and destroyers in the North Atlantic and in the Mediterranean Sea. In 1988 the Royal Society of Marine Artists elected Gardner as their honorary vice-president for life. In 2005, as part of celebration of the bicentenary of the Battle of Trafalgar an exhibition of his work featuring a painting of every ship in which Nelson served, was presented in London. His work is included in several marine art texts and held in public collections including the National Maritime Museum, Greenwich.

Derek G. M. Gardner • Sunrise: The Glory of the Seas in St George’s Channel, bound for Liverpool British, (1914-2007) • Oil on Canvas • 61 x 91.5 cms, 24” x 36” • Price Code E

Derek G. M Gardner H.M.S. Daedalus British, (1914-2007) Watercolour 25.5 x 35.5 cms, 10” x 14” Price Code C

Derek G. M Gardner H.M.S. Speedy British, (1914-2007) Watercolour 25.5 x 35.5 cms, 10” x 14” Price Code C

Derek G.M. Gardner • The H.M.S. Defence of 74 Guns British, (1914-2007) • Watercolour • 33 x 48 cms, 13” x 19” • Price Code C

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

Henry Scott • Ocean Sunset, Far Pacific British, (1911-2005) • Oil on Canvas • 40 x 60 cms, 15 ” x 23 ” • Price Code C

Adelsteen Normann • Fjord en Norvège Norwegian, (1848-1918) • Oil on Panel • 69 x 95 cms, 27” x 37” • Price Code D

Edward Porteilje The Fisherman’s Proposal Belgium (1864-1949) Oil on Canvas 40 x 33 cms, 18” x 15” Price Code E

Luis Muntane Muns Figura Femenina Spanish, (1899-1987) Oil on Panel 37 x 26 cms, 14 ” x 10” Price Code C

Auguste Bouvard • Evening Light, Santa Maria della Salute French, (1882-1956) • Oil on Canvas • 51 x 64 cms, 20” x 25” • Price Code E

Auguste Bouvard The Vegetable Market, Venice French, (1882-1956) Oil on Canvas 51 x 64 cms, 20” x 25” Price Code E

Bouvard’s love affair with Venice was instant and enduring. Inspired by the outstanding beauty of the city, his impressionist, warm, colourful and confident landscapes capture its unique atmosphere and charm. Widely collected and comprehensively acknowledged as one of the finest Venetian painters ever, comparisons are often drawn with Canaletto, Guardi and Ziem, however many prefer Bouvard’s style. On his visits to Venice, Rubens Santoro was to become a close friend and mentor. In his early years, Bouvard honed his talents under Constant-Dufeus at the École des Beaux-Arts in Paris, and drawing inspiration from the popular impressionist movement of the time, he developed his appealing style. In 1928, Gladwell & Patterson, the acknowledged experts of his art, held the first one-man exhibition of Bouvard’s work in Britain, from which the late Queen Mary purchased two paintings.

Harry Sutton Palmer is celebrated for his masterful watercolours which superbly capture the subtleties of colour and tone. This celebrated artist exhibited at the Royal Academy from 1870 and his exquisite landscapes were used as illustrations in the beautiful A & C Black books of Britain. Whether sharpening his focus on panoramic views or sweeping landscapes, or on details such as rushing streams or snapshots of villages, Sutton Palmer’s works all bear the hallmark of an artist with consummate skill of the medium. Examples of his watercolours can now be found at the Victoria and Albert Museum and he greatly influenced subsequent generations of artists all over the world. Harry Sutton Palmer • Old Oaks Coppice British, (1854-1933) • Watercolour • 35.5 x 53.5 cms, 14” x 21” • Price Code B

Harry Sutton Palmer Evening on the Moor British, (1854-1933) Watercolour 96.5 x 66 cms, 38" x 26" Price Code C

Sir William Russell Flint • Interior at Auticamp Scottish, (1880-1969) • Watercolour • 38.5 x 57 cms, 15” x 22 ” • Price Code E

David Shepherd • In the Heat of the Day British, (born 1931) • Oil on Canvas • 22 x 38 cms, 8 ” x 15” • Price Code E

David Shepherd • The Threatening Sky British, (born 1931) • Oil on Canvas • 23 x 41 cms, 9” x 16” • Price Code E

David Shepherd is regarded by many as being the world’s leading wildlife artist. He started his artistic career as an aviation artist, and an early commission for the RAF took him to Kenya where David painted his first wildlife subject and he never looked back. 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 conservationist awards including an OBE. David’s distinctive style stems from a personal attachment with the animals of Kenya. His impasto brushwork in the foreground contrasted with the detailed and intricate depiction of the wild animals highlights the details of the rich African terrain and the fragility of the animals within.

Perron’s depictions of rural French life, be they an intimate cottage scene, a delicate still life or a beguiling nude, demonstrate a faultless technique and highly developed technical skills. They bring a sense of calm and joy to the viewer. Perron had a complete mastery of shape and of delicate hues, a wonderful sense of design and an expert command of his medium, reminiscent of the 18th century French master JeanBaptiste Chardin. Perron’s paintings drew acclaim from art connoisseurs and 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.

Charles Perron • La Porte Ouverte French, (1893-1958) • Oil on Panel • 33 x 27 cms, 13" x 11" • Price Code A

Charles Perron • Bouquet de Fleurs dans un Vase French, (1893-1958) • Oil on Panel • 19 x 24 cms, 7 ” x 9 ” • Price Code B

Raymond Wintz • Bord de mer en Bretagne French, (1884-1956) • Oil on Canvas • 46 x 55cms, 18” x 21 ” • Price Code B

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

Very few artists have the desire to be different and to create something truly unique, however throughout Pierre de Clausade’s entire career, he strived to find his own artistic identity and set himself aside from his contemporaries. He found his niche with his great cloud masses and tranquil landscapes, transporting the viewer into a world of solitude and peaceful beauty. His landscapes delighted art connoisseurs and he found widespread commercial and academic success. Widely decorated by the French Salons, his peers and the establishment recognised Clausade’s achievements and talent, culminating in the award of the Medaille d’Argent by the Jury of the Paris Salon in 1953. His fame soon spread abroad and the Boston and Minneapolis Museums of Fine Art acquired examples of his work.

Recognised as one of the best post-impressionist artists, Robin’s skill and complete command of his palette set him aside from his contemporaries. Combining his deft and delicate touch with vigorous, dramatic brush strokes and palette knife work, he produced exceptional paintings. Enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly capture rustic and typical French life. Feted by the French artistic establishment and his many patrons during his lifetime, the multitude of awards that Robin garnered for his work illustrates the acclaim in which he was held. Gladwell & Patterson had a close relationship with Robin for the last 50 years of his life and are acknowledged as the world experts on his work.

Georges Charles Robin • Le Bord du Loing French, (1903-2003) • Oil on Canvas • Painted in 1948 • 46 x 55 cms, 18¼" x 21½" • Price Code D

Georges Charles Robin Le Fusin pres du Château-Landon French, (1903-2003) Oil on Canvas 90 x 70.5 cms, 35 ” x 27 ” Price Code D

Georges Charles Robin • Lavoir sur l’Eure French, (1903-2003) • Oil on Panel • 40 x 50 cms, 15 ” x 19 ” • Price Code C

Georges Charles Robin • La Dourdogne pres de Bretenoux French, (1903-2003) • Oil on Canvas • 51 x 76 cms, 20" x 30" • Price Code D

Georges Charles Robin L’Ardèche près de Vallon-Pont d’Arc French, (1903-2003) Oil on Canvas 38 x 45.5 cms, 15” x 18” Price Code C

Georges Charles Robin La Place Saint-Pol-de-Léon, Bretagne French, (1903-2003) Oil on Canvas 50 x 63.5 cms, 19 ” x 25” Price Code D

Georges Charles Robin • Près de Fouesnant, Bretagne French, (1903-2003) • Oil on Canvas • 49 x 63.5 cms, 19 ” x 25” • Price Code D

Maurice Martin Amiens, Rue Motte French, (1894-1978) Oil on Canvas 54 x 65 cms, 21 ” x 25 ” Price Code C

A master of bold colours and strong form, Maurice Martin was a key practitioner in the Moret School of painting. This talented group of artists were indebted to the Impressionist artists, most notably Alfred Sisley, who painted at Moretsur-Loing in the 1890’s. Martin was frequently seen painting en plein-air, believing this to be the only way to capture the immediacy of the scenery. Martin’s technique demanded a free and spontaneous style of painting in order to catch the rapid changes in outdoor light. He attempted to extract the colours and shapes as well as the fragrances of nature, putting the total ambiance and experience directly onto the canvas. The highlights of Martin’s career were the Gold Medal he was awarded at the 1946 Paris Salon, and becoming Vice President of the Society of French Landscape Painters.

Maurice Martin • Le Chemin du Moulin de Launoy en Hiver French, (1894-1978) • Oil on Canvas • 54 x 65 cms, 21 ” x 25 ” • Price Code C

Gustave Cariot • Gerbes de Blé au Pied d’une Colline French, (1872-1950) • Oil on Canvas • Painted in 1924 • 50 x 65 cms, 19 ” x 25 ” • Price Code E

Gustave Cariot Arbre dans un Champ de Gerbes de Paille French, (1872-1950) Oil on Canvas Painted in 1911 33 x 41 cms, 13” x 16” Price Code D

Inspired by Monet’s famous studies of haystacks and the Rouen cathedral, Gustave Cariot was fascinated by the fluctuations of light and color brought about by the changing seasons. He devoted two series of paintings to exploring this theme. Entitled ‘Le Poème des Saisons’, with each picture representing a different month, these paintings were exhibited together at the 1903 Salon des Indépendants. It was there, as the artist’s correspondence reveals, that these pictures would catch the eye of two of the most important collectors of the time, Serguei Dmitrievitch Cheremeteff and Armand Cabrol, leading to a surge in his popularity. Gustave Cariot was a largely self-taught French Pointillist and Impressionist artist born in the countryside near Paris. Inspired by the techniques of the Pointillists and Divisionists, he was to become a celebrated Post-Impressionist painter whose work is gaining importance with every passing year.

Alexandre Louis Jacob • Moulin de Crecy French, (1876-1972) • Oil on panel • 40.5 x 38 cms, 15” x 16” • Price Code C

Alexandre Louis Jacob • Vieux Chemin, Bords du Marais French, (1876-1972) • Oil on panel • 44 x 26 cms, 9” x 17” • Price Code C

Alexandre Jacob’s tranquil and subtle landscapes show a masterful evocation of light, atmosphere and colour, transporting the viewer into the peaceful countryside of rural France. He gained an understanding and love for nature through studied inspection, transferring his unique observations skillfully onto canvas. Making his name in the French Salons of the 1920s and 1930s, his immense talent was immediately, his immense talent was immediately recognised by his peers and then by the establishment. His exceptional paintings garnered the awards and accolades that they so richly deserved and are now universally enjoyed in many museums around France. It was the early 1950’s when Gladwell & Patterson first exhibited Jacob’s stunning landscapes and we have become recognised as the world experts on his work. His beautiful paintings form the cornerstone of any discerning collection.

Alexandre Louis Jacob • Neige au Marais (Environs d’Amiens) French, (1876-1972) • Oil on Panel • 17 x 30 cms, 10 ” x 12” • Price Code C

Alexandre Louis Jacob Neige au Marais, Environs d’Amiens French, (1876-1972) Oil on Panel 27 x 22 cms, 10 ” x 8 ” Price Code C

Painting Perfection

Claude Monet’s Vétheuil, les Pruniers en Fleurs, is one of a group of four canvases of this subject that Monet painted during the spring of 1879 while living in Vethéuil with his wife Camille and their two children. The painting depicts an orchard full of blossoming plum trees, as indicated by the profusion of white frothing foliage that dominated the foreground. Monet painted this scene in the orchards which lay between the little town of Vethéuil and the river Seine, with the Chênay hill in the distance. The nearby houses of Vethéuil are visible in the distance through the profusion of blossom that Monet so vividly captures. Beneath the trees, four figures are visible, perhaps Camille and their sons, or the Hoschedé children, came to keep Monet company whilst he painted on this glorious spring day in 1879. The figures bring a spontaneity to the overall composition and the painting becomes an idyllic pastoral scene. The pastel tones of this remarkable painting evoke the crisp spring air. Monet painted the sky and the hills in the background of Vétheuil, les Pruniers en Fleurs with loose brushworks allowing for the canvas base to show through and become an intrinsic part of the composition. The blossom on the trees in the foreground meanwhile are formed by thick daubs of paint, carefully built up and rapidly applied to create a fleeting effect of petals and leaves swishing in the breeze.

Claude Monet • Vétheuil, les Pruniers en Fleurs, Painted in 1879 French (1840-1926) • Oil on Canvas • 71 x 93.3 cms, 29¬” x 36 ” • Price on Application

Gustave Loiseau • Hiver à Triel-sur-Seine French, (1865-1935) • Oil on Canvas • 55 x 65 cms, 21 ” x 25 ” • Price on Application

Hiver à Triel-sur-Seine is a magnifcent example of Loiseau’s mature style. Greatly influenced by Monet, Sisley and Pissarro, Loiseau embraced the Impressionists delight in capturing the natural environment en-plein-air. Loiseau belonged to the generation of young artists whom the Impressionists recognised as the successors of their legacy. In 1895, Monet and 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. In Hiver à Triel-sur-Seine Loiseau captured the tranquility of the small town of Triel-sur-Seine after a heavy snowfall. Loiseau masterfully uses cool pastel tones and daubs of white and icy blue paint across the canvas. Two children walking along the road provide an animated focus within this calm and quiet winters scene. An undated river scene is painted on the reverse of this painting. Loiseau captured an idyllic boatride along the river at the height of summer, a drasti contrast to Hiver à Triel-sur-Seine on the opposite side of the canvas. This unfinished work provides an indiction of Loiseau’s tequnique. The dry, loose brshstrokes on the surface of the water reveals how the artist created a base layer of colours that he would later build up with textures dappled brushstrokes in a cross hatched tequnique, as he had begun to do in the tress on the river bank. Why Loiseau left the river scene unfinishes and favoured the 1924 snowscene is unknown, but this unique two-sided painting provides a profound insight into the technique of this brilliant, lesser known post-Impressionist artist.

Bord de Rivière (on the reverse of Hiver à Triel-sur-Seine)

L'Yonne à Auxerre is a serene depiction of the historic market town of Auxerre from the banks of the Yonne, a tributary to the Seine which flows south east of Paris into Burgundy. The gothic Cathédrale Saint-Étienne d’Auxerre dominates the skyline of the painting and the dappled reflections on the surface of the water and is beautifully rendered in loose brushstokes. The handling of colour and the application of paint of L'Yonne à Auxerre reveal the techniques Loiseau learned first hand from Gauguin as well as his debt to Sisley and Pissarro. In 1890, after a period of pointillist experimentation, Loiseau moved to Pont-Aven where he found his style, painting in a Post-Impressionist manner directly from nature. He had a particular interest in the depiction of water within a landscape, of which L'Yonne à Auxerre is a very fine example. By the early 1900s, with Paul Durand-Ruel’s backing, and the encouragement of the older generation of Impressionist artists, Loiseau travelled extensively in France and is recorded as staying in Auxerre in 1902 and 1908. The Cathédrale Saint-Étienne d’Auxerre became a great source of inspiration to Loiseau, who chose to depict the gothic splendor rising above the Yonne from a variety of view points. In L'Yonne à Auxerre the Cathedral, whist dominant on the horizon, is surpassed in Loiseau’s pursuit to capture the atmospheric quality of a warm and breezy summers day on the banks of the Yonne. The broad expanse of the river in the foreground delights the senses as Loiseau superbly captures the rippling effect of a warm summers breeze blowing across the surface of the water. This still and serene landscape is animated by the movement of the clouds in the sky, painted with longer, loose brushstrokes than their reflections in the water below, evoking the ambiance of a warm summers day.

Gustave Loiseau • L’Yonne à Auxerre French, (1865-1935) • Oil on Canvas • Painted in 1908 • 50 x 60 cms, 19 ” x 23 ” • Price on Application

This vibrant view of the Brittany coastline captures the natural and social landscape of North West France at the turn of the twentieth century. This vibrant costal landscape is punctuated by a group of peasants demonstrating the hard toils of their labour. Along the Atlantic coast of Brittany, seaweed harvesting was an important local industry, with the final product used for heating, fertiliser and as a food source for local communities. In this beautiful depiction by Moret, we see two men wading into the sea, collected the algae with large rakes and a woman carrying the seaweed on a rake to the edge of the shore to be spread on the dunes to dry. The coastal area of Névez, where Moret frequently painted en plein-air, was a short journey away from the artistic hub of Pont Aven. Moret was particularly drawn to the local peasants, fishermen and farmers of Brittany, and painting the landscape and rocky coastline of this remote and beautiful area. This area of Brittany attracted a host of different artists in the second half of the nineteenth century. Their arrival coincided with the recently completed construction of the train line to the region, and their desire to escape increasing urbanisation in search of a simpler more ‘authentic’ life. It was Gauguin who is the painter most readily associated with the Pont Aven and Le Pouldu. Gauguin arrived in the area for the first time in 1886, and returned intermittently over the following eight years. But unlike Gauguin and others who came and went, Moret was the artist who stayed, remaining in the region all his life, and becoming its most ardent and faithful chronicler.

Henry Moret • La Rèvolte des Goémons à Névez French, (1856-1913) • Oil on Canvas • 65 x 92 cms, 25 ” x 36” • Price on Application

Claude Monet Près Monte-Carlo French (1840-1926) Oil on Canvas Painted in 1883 26” x 32 ”, 65.5 x 82 cms Price on Application

Gladwell & Patterson at Fine Art Asia 30 September – 3 October 2017 Hong Kong Convention and Exhibition Centre, Hong Kong www.fineartasia.com Contact the gallery for tickets

Gladwell & Patterson at SOFA Chicago 2 – 5 November 2017 Navy Pier, Chicago www.sofaexpo.com Contact the gallery for tickets

Simon Gudgeon Pelicans British, (Contemporary) Bronze (Edition of 7) 63" x 50" x 14", 160 x 126 x 34 cms Price Code F

INDEX

Nick Bibby

p. 38-41

Charles Perron

p. 62-63

Auguste Bouvard

p. 54-55

Edward Porteilje

p. 52

Peter van Breda

p. 30-33

Georges Charles Robin

p. 66-71

Paul S. Brown

p. 6-9

Henry Scott

p. 49

Gustave Cariot

p. 74-75

Claudia Seymour

p. 18-19

Pierre de Clausade

p. 65

George Shaw

p. 48

Paul Czainski

p. 20-21

David Shepherd

p. 60-61

Walter Dolphyn

p. 14-17

Martin Taylor

p. 28-29

Sir William Russell Flint

p. 58-59

Pieter Wagemans

p. 10-11

Derek G. M. Gardner

p. 44-47

Raymond Wintz

p. 64

Ewoud De Groot

p. 24-25

Simon Gudgeon

p. 36-37

Alexandre Louis Jacob

p. 76-79

Clarissa James

p. 22-23

Stewart Lees

p. 12-13

Gustave Loiseau

p. 84-87

Maurice Martin

p. 72-73

Claude Monet

p. 82-83

Ronny Moortgat

p. 26-27

Henry Moret

p. 88-89

Luis Muntane Muns

p. 53

Adelsteen Normann

p. 50-51

Harry Sutton Palmer

p. 56-57

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